While non-metalheads of the world may know Glenn largely through the mass-market exposure of his 1992 hit "Mother," the long-hair-and-leather set knows Glenn as much, much, more. Glenn is the creative mastermind behind 3 seminal bands: The Misfits, Samhain, and Danzig, in that order. Active since 1976, with over 20 albums to his credit, let's give the devil his due.

Glenn's influence on the darker side of rock 'n' roll is comparable to that of only Alice Cooper. Without Glenn to pave the way, there might not have been a Metallica. Find some photos from early releases from James Hetfield and the gang (especially from the Cliff Burton era) and you'll see a lot of Misfits T-shirts. You'll also hear a couple Misfits covers in those early recordings. "Last Caress" is often mistaken for a Metallica song—nope! The Misfits' formula of spooky lyrics over major chord progressions has its echoes in current bands like Alkaline Trio, Calabrese, and "Art of Drowning"-era AFI stuff.

Samhain, the least-known band fronted by Glenn, illustrates a transitional period between the stripped-down punk-rock mashings of the 'fits and the full-on metal bombast of Danzig proper. Samhain takes a more atmospheric approach, with longer, mid-tempo songs, and tons of reverb—seemingly on everything. Where the Misfits were hectic, Samhain chose to be eerie, setting the tone for a hundred skinny, pale goth bands to follow. When the band morphed into Danzig in 1988, the reverb was gone, metal leads were in—and most importantly—a heavy dose of American Blues was tossed into the mix. This formula, with some mid-era exceptions, serves Danzig well to this day.

At 55, his touring schedule is slowing down a bit, but the man is still very productive. Perhaps surprisingly, Glenn's also penned songs for Roy Orbison and Johnny Cash, and has collaborated live with Hank Williams III. Glenn also runs his own comic book company, and has released two neo-classical compositions under the title "Black Aria."  His latest album, "Deth Red Saboath" is receiving the most flattering reviews of a Danzig record since 1994 or so.

While Glenn boasts an impressive resume for certain, Glenn will always be best known for his inimitable baritone swamp-holler. Give this a listen to remind yourself! 

San Francisco's Andy Graham has always been pushing the creative envelope. Andy was recognized in Modern Drummer magazine in 2003 for a custom drum configuration that allowed him to play drums and didgeridoo at the same time! Excuse me, I meant to say drums and three didgeridoos.

But what we're really here to talk about is the incredible DIJBASS. Given the name and photo you've likely already guessed what it is—an unlikely combination of didgeridoo and electric bass. Sporting a 24-inch hollow aluminum body, the instrument is able to produce tones in the same range as its traditional didgeridoo cousin, which can reach lengths of 8 feet or more. This is due to a complex system of internal baffles that "fold the air flow in half and direct it out the front." Not sure I follow the acoustics going on there, but it sounds great to me! A small condenser microphone is housed within the assembly to reproduce the didge-tones.

The electric bass elements of the instrument are fairly traditional; four strings, a pickup, and an output jack. There's also a switch that raises the middle two strings from the fingerboard, allowing the instrument to be played with a bow!

Andy's got an active web presence, too—check out his site at AndyGraham.net.

What do the Zymo-Xyl, Gourd Tree, Chromelodeon, Quadrangularis Reversum, and Mazda Marimba all have in common? All were conceived and built by Mr. Harry Partch. Devoted readers will remember the Quadrangularis from a blog post from a few weeks ago.

"Eccentric" by most definitions of the term, Partch was born in 1901 in Oakland, California. He was born into a musical family, schooled in a variety of instruments, and began composing at a very early age.

He was quickly consumed by the idea of composing music that reflected the nuance of human speech. After completing several works exploring this concept, he ultimately felt that the Western 12-note chromatic scale was too limiting. In frustration, Partch destroyed his early chromatic works by fire!

Starting over in London with the help of some grant money, Partch developed many works around a 43-note scale that required a bevy of custom-made instruments, a few of which we listed above. Partch once referred to himself as "a philosophic music-man seduced into carpentry."

Eventually, the grant money ran out, and Partch returned to the depressed climate of 1930's America, where he was homeless for ten years, traveling by freight train and finding odd jobs. It wasn't until he received a second grant from the Guggenheim Foundation that he began working on "US Highball," a musical retelling of his experiences as a freight-riding hobo. It is among his best-known work.

Partch remained prolific until 1972, and died in 1974. His precious, unique instruments are currently housed at the Harry Partch Instrumentarium at Montclair State University in New Jersey, USA.  A wealth of info on Harry and his works can be found at corporeal.com.

Good ol' Graham never lets us down.

He's taken the time to compose a very thorough run-through and review of the GDI21 Guitar Amp Modeler/Direct Recording Preamp/DI Box. I've always felt this was one of the "secret weapons" in the BEHRINGER catalog; not enough people know how great this little blue box is!

Thanks to Graham, it's not so much a secret anymore! Head on over to The Recording Revolution for the full writeup.

Adjusting the Intonation

There is a reason for each and every one of those little screws and other adjusters on your guitar bridge. In Part 3 (Link) you learned to adjust the height of the individual strings at the bridge, improving the playing action of your instrument. In this article you will learn to make what is perhaps the most critical bridge adjustment—individual string intonation. This very simple process will make each of your strings play more in tune across the entire fingerboard.












Step 1:
Make sure the string you are working on is perfectly in tune when played open, or not fretted.

Step 2:
Now press the string down at the 12th fret and play it. Is the note at the 12th fret perfectly in tune? If the answer is “yes,” then move on to the next string. If not, then you must adjust the intonation.

Step 3:
If the note is sharp at the 12th fret, you will need to increase the string’s length by moving its saddle further from the fingerboard (turn the intonation screw clockwise). If the note is flat, shorten the string by moving the saddle closer to the fingerboard (turn the intonation screw counter-clockwise). Retune after each adjustment, then recheck and adjust as necessary.

12th fret plays sharp - move the saddle away from the fingerboard
12th fret plays flat - move the saddle closer to the fingerboard

Detailed instructions are available at:
http://fretnotguitarrepair.com/Electric_Guitar_Intonation.htm

If you are new to the art of guitar setup, take a tour of this site as it offers a wealth of information. It is one of the best websites I’ve found for general guitar knowledge—most of which I had to learn the hard way! Follow these steps each time you put on new strings and your fingers and ears will thank you.

Special thanks go out to Marguerite Pastella at Fret Not Guitar Repair, Inc. in Newport News, Virginia, USA for providing this wonderful information.

Last week we stretched the definition of "instrument" a bit to get the "Bridge Music" story up. This week we're following suit on loose interpretations of the word "instrument," but trust me: we're knocking it out of the park in the "weird" category.

Looking something like a collaboration between Jonathan Ive and H.R. Geiger, The "WAHAA GO GO" is an interactive sculpture created in Japan around a year ago. Through completely mechanical means, the device is capable of delivering an unsettlingly humanoid laugh.

Cranking up the flywheel raises the "head" assembly and inflates a bellows. Once fully raised, the weight of the head forces the bellows to slowly close—the expelled air is routed through the artificial vocal cords and mouth.

That toothy maw is what seals in the creep factor on this device. Some of the expelled air is routed to an assembly that opens and closes the mouth and manipulates the vocal cords,  completing the vocalization. You have to see the video to really get the full idea, just know that BEHRINGER won't be held responsible if you have any nightmares after watching.

Due to reader demand, we've extended this 8-part series!

9. Use a High Pass Filter!

Many times when recording you feel that each track sounds great at first, yet once all the pieces are in place (drums, bass, guitars, vocals, keys) the mix becomes "muddy", is lacking clarity and just overall doesn't have the vibe you were hoping for. If you've run into this problem, you're not alone. Mixing music is a complex task due to the even more complex nature of frequencies, harmonics, and how they interact with those of other instruments. And while great mixes don't come from simply reading one post online, there is one tip I can share that will help clean up your mixes faster than any other I know.

Simply put, use a high pass filter like a mad man! For those unfamiliar with the high pass filter, it is a one band EQ curve that cuts out low frequencies while letting the high frequencies pass through unaffected (hence the name). Any basic EQ plugin will allow you to implement a high pass filter. The idea here is that many instruments like guitars, keys, and vocals have musical "information" in the low to mid-low frequencies that if taken out (via a high pass filter), the human ear doesn't really miss. In fact, in the context of a whole mix where the bass guitar and kick drum are holding down the low end, the listener won't even notice that you've cut out anything at all.

What does this mean for you and your music? When you're starting to mix, make it a habit to fire open a simple high pass filter on most tracks (pretty much anything other than bass and kick drum), roll off up to anywhere from 100 hz to 350 hz (just listen to it and make sure the track isn't getting too thin), and within seconds you will start to notice a lot more clarity in your mix. You're basically taking away a ton of volume of tracks on frequencies that we don't need to hear, thus "opening" up your mix and letting tracks play nicely together.

The high pass filter is the fastest way to clean up your mix and one of the simplest tricks to implement. So what are you waiting for? Get to it!

Be sure to check more tips over at therecordingrevolution.com!

Tuesday, July 20th, Chairman and CEO Uli Behringer will host a special event for the BEHRINGER and BUGERA European sales partners. Set to take place in Düsseldorf Germany, a large gathering of our valued dealers will meet as Uli Behringer presents the MUSIC Group vision, as well as the new BEHRINGER and BUGERA sales strategies for the European market. With the recent change in distribution and focus on the “Container Direct” business model, interest among potential partners has spiked tremendously, and July is already shaping up to be a record sales month. The new distribution model, a first in the MI-PRO industry, allows select dealers to buy products directly from the factory, provided minimum requirements are met. As a result, the new program will shorten the supply chain and provide customers with even lower prices.

Uli Behringer comments, “BEHRINGER was founded 21 years ago with one single mission: to provide musicians with incredible products at the best possible prices. This is and will always be our philosophy, as we owe our success to all the people who have purchased our equipment and supported us throughout these years.” He continued, “The new distribution model basically removes a step from the supply chain and provides more value and better prices for our customers”.

After an afternoon of discussion surrounding the plans for continued success in 2010/2011, the evening will conclude with a group dinner. For more information, or inquiries regarding the event, please contact CUSTManaEU@music-group.com.
 

Microphone placement is like any other practice in audio recording; the line between "best practice" and "popular opinion" is often fuzzy. There's not really a "perfect" way to record an electric guitar, as a "good" guitar tone is entirely subjective, like a flavor of wine. That said, in order to form educated opinions, we need to do a little exploration of the objective effects of mic placement. From there we can decide what sounds good to us.

Check out the two videos below, which succinctly illustrate what a difference mic placement can make to the character of a recording. In the first example, a dynamic microphone is placed in front of the center of the speaker cone, head-on, and nearly touching the grill cloth. The resulting sound is quite detailed, with emphasis in the upper mids and treble ranges of the guitar sound. Now listen to the second example, with the mic placed on-axis near the edge of the speaker cone. The resulting tones are much more bass-heavy, less detailed, and in general are quite a bit darker.



The third and fourth settings distance the microphone from the cabinet considerably, which introduces more room reverb and ambient sound, at the expense of detail. Note that the acoustics of the room in which this recording takes place will be a factor in the quality of the reverb as well. Some rooms are more conducive to reverb than others, largely dependent on how much sound-reflective material is present.

On to the second video—this explores the differences between close and distant miking, but also illustrates how the two microphone signals can be combined. Note that the first (close) recording sounds snappy and bright, and that the second (distant) recording has some lush reverb, but is a little dull sounding. The third (mixed) recording offers the best of both worlds!





What sort of tricks have you discovered in your guitar recording exploits? Do you prefer a multiple-microphone setup over a single-mic approach?

In an ongoing effort to refine our business and bring the best possible customer experience to market, we are announcing some important changes. Here is a press release that was issued today:

The MUSIC Group Announces Changes in Sales Model for US and Europe
The company cites growth and investment in R&D and manufacturing efforts as factors in new direction

July 15, 2010 – In the face of rapid company growth, the MUSIC Group has announced a restructuring of their European and US sales programs for the BEHRINGER and BUGERA brands toward a factory direct sales model that allows them to streamline distribution and logistics operations. The announcement comes in support of a markedly increased Company focus in areas such as Product Conceptualization, Development, Manufacturing and Customer Experience. The Group will back the initiative with a multi-million dollar investment aimed toward revolutionizing the Group’s wholly owned manufacturing facility in Zhongshan, in preparation to expand the MUSIC Group brands into new market segments.

“As The MUSIC Group continues to grow, it is critical that we refine our focus to the Group’s core competencies. Moving forward, we will invest heavily in areas such as R & D, Intellectual Property in manufacturing, and overall customer experience. Concurrently, we will liaise with partners who have mastered their areas of expertise in order to achieve maximum efficiency and a tremendous customer experience,” commented Chairman and CEO Uli Behringer on the new strategy.

The planned sales model changes will see the Company appoint key business partners to provide importation and fulfillment services to current and future MUSIC Group dealers in the US, rather than servicing them directly through the group’s North American office. A new “Container Program” will also be implemented, which allows dedicated customers to engage in a factory-direct relationship at a minimum purchase requirement, with benefits such paid freight costs offered by The MUSIC Group. The key partners appointed for the US include Fill On Demand for the West, Starin Distribution for the Midwest and Shoreview Distribution for the East. In Europe, the Group will operate on a factory-to-dealer direct program. All changes will apply solely to the BEHRINGER and BUGERA brands, as MIDAS and KLARK TEKNIK will maintain their current sales structure.

Uli Behringer continued, “The restructure of our sales model will help us to place certain logistic operations into the capable hands of our partners, and allow us to focus on expanding our brand into new business segments, place a significantly increased emphasis on proprietary technology, and as always, deliver our savings back to the consumer.”

For Sales, Dealer and Distribution Inquiries, please contact:

US:
Phone: (877)672-0816
Email:  CUSTSuppUS@music-group.com

Europe:
Phone: +49 2154 9206 4149 
Email: CustSuppEU@music-group.com

For Media and Marketing inquiries, please contact CORPCommGLOB@music-group.com

 

 

 

 

 

 

Get to Know Herbie Hancock!

When I first began researching this article, the phrase escaped my mouth, "Jeez, I don't know where to start with this guy."

Herbie's one of those musician/bandleader/composer types whose importance to human history rivals that of water. Schooled in classical piano from the ripe old age of seven, Herbie didn't discover jazz until his late teens. Herbie went to Grinnell College for classical composition for three and a half years, and earned a double-major in music and electrical engineering. You know, so he'd have something to fall back on, in case that whole "Music Icon" career didn't pan out.

1963 marked the year that "Icon" status began to truly take form, as Herbie signed on to Miles Davis' "Second Great Quintet."  This was a watermark moment for his career. His work with Davis brought to light a classical influence heretofore unheard of in the jazz idiom. This bold confluence of genres set the stage for the remainder of Herbie's career: fusion.

Unphased by nay-saying jazz traditionalists, Herbie would go on to mix jazz with rock, hip-hop, funk, and electronic styles, continuing to perform, compose and innovate to this day. He was among the first, if not the first, to welcome the synthesizer to the jazz world.

To date, he's recorded over 50 albums, involving a diverse array of collaborators like Joni Mitchell, The Marsalis Brothers, Pat Metheney, and Leonard Cohen. He's also composed three film scores. Oh, and he serves as the Artistic Director of the Thelonius Monk Institute. Busy guy.

What's fascinating to me about Herbie is is place on the popular landscape. The guy's only had a handful of hits in the pop world, but is cited as a top influence not only in the jazz community, but has also turned the heads and ears of notable hip-hop producers. It seems that "Who are some of your influences" is the question most commonly asked of a musician being interviewed. After reading this, try to take notice at how often “Herbie Hancock” is consistently one of the answers.

Adjusting the String Height at the Bridge

Now that you’ve installed new strings on your guitar and the neck is straight, you can adjust the individual string saddles (the little bridge pieces the strings sit on) to match the radius (roundness) of your fingerboard. This is the part luthiers refer to as, “Getting the strings as low as possible without buzzing.”

Step 1:
Tune your guitar.

Step 2:
Turn the saddle screws on the low “E” string (the thickest one) counterclockwise until it starts to buzz when you play it.

Step 3:
Now raise it (by turning the saddle screws clockwise) just enough to stop the buzz. Tune again. No Buzzes? Great! Still buzzing after tuning? Raise it a little bit more and retune until there is no buzzing.









Step 4:
You should now be able to set all the other strings to roughly the same height, one that matches the gentle arc of the top fret (See image above). You guessed it, time to tune again!

Step 5:
Now play some chords or licks at various neck positions and make final height adjustments to eliminate any lingering buzzes.

Almost done!

Next week, the final installment in this series: Adjusting Your Guitar’s Intonation.

OK, this one stretches the definition of "Weird Instrument," as the Mid-Hudson Bridge was not conceived as an instrument. It's more of a bridge. But bear with me, I thought this was cool enough that I had to share it ASAP.

In 2006, American composer Joseph Bertolozzi set out on an ambitious recording project. Working with the New York State Bridge Authority and audio engineer Ron Kuhnke, Joseph recorded some 300 sounds of the Mid-Hudson being struck by rubber mallets, hammers, and a myriad of other percussion tools. Most of the resulting sounds were recorded via contact microphones. This is partially due to wind, traffic, and seagull interference that would have been recorded had traditional mics been used; also because the vibrations of the incredibly heavy metal bridge components aren't necessarily audible at a distance. Some sounds recorded inside the wind-sheltered confines of the bridge used traditional mics.

Once Joseph had whittled his sample collection to around 100 decent sounds, he imported them into his DAW and arranged a full-length album’s worth of material. The original idea had been to employ a large compliment of percussionists to actually perform Joseph's compositions live. When funding didn't pan out, it was decided to release the composition as a studio album, the aptly-titled "Bridge Music." "Bridge Music" entered at #18 on the Billboard Classical Crossover Music Chart in the summer of 2009. Elements of the recording can also be heard via listening stations on and around the bridge itself, and are broadcast via radio nearby at 95.3FM!

5 tracks from the recordings can be heard here; a New York Times video about the recording process can be seen here. watch quick for a BEHRINGER POWERPLAY PRO-8 HA8000 in the studio footage!

Where are Joseph's sights and mallets aiming for next? The Eiffel Tower. Thanks to Joseph for supplying details for this post personally, by the way.

How do you feel about non-musical instruments being used in musical composition? Do any of your musical endeavors employ improvised percussion?

Tone connoisseurs will go to extreme lengths to dial in exactly the sounds they want. String gauge, amplifier class, cable length, pick thickness, playing technique, and even the acoustics of the room one chooses to play in will affect an instrument's sound. Pickups come in a few different flavors, of course, but today we'll explore the distinctions between active and passive pickups.

The quick-and-easy answer is that active pickups require batteries, and passive pickups don't. Active pickups have a preamplifier circuit that usually requires a 9-volt battery or two.  Active pickups are often found employed by "hi-fi" bassists, though guitarists have been known to use them as well.

The advantages of active pickups are numerous: Their sound is often said to be cleaner and more distinct, and the pickups are less prone to interference noise and hum. Active circuitry also offers the player greater command over an instrument's dynamic range, allowing for more expressive performances. Furthermore, active pickups allow for active EQ controls and filters, meaning treble/mid/bass controls can boost or cut in their specific frequency range. Passive pickup EQs can only cut.

Beyond that, the higher output of active pickups also help eliminate "cable loading," meaning that your tone won't degrade when you play a big stage and have a longer cable running between your axe and your amp.

What about the disadvantages? Well, it's tone-related, and therefore mostly subjective—but if you seek a "vintage" tone of yesteryear, active pickups aren't likely to deliver. Furthermore, no battery lasts forever, and in my experience most batteries tend to die at the worst possible moment, like in the middle of your solo! Active pickups are also generally more expensive than the alternative.

Active pickups typically output a hotter signal, and may require some attenuation on your amp. Whether it floats your boat or not, active pickups will drive an amp harder than their passive brethren, increasing the likelihood of distortion; but that's cool if metal and other high-gain applications are up your alley.

Is there anything I missed? Let me know, tone snobs. Oh—and what's your preference?

Check it out! Our friends over at XT software just released Version 2.5.3 of energyXT. The most exciting update is that the software now integrates seamlessly with SoundCloud, allowing immediate sharing of your music projects to the world! From the "File" menu, simply click "Export Project," and click the "Share" button—the SoundCloud add-on will install. energyXT2.5 Compact BEHRINGER Edition ships with many of our products including the UMA25S keyboard controller, our Desktop MIDI Controllers and PODCASTUDIOS, the V-AMP3, and the entire XENYX Mixer family!

For those of you not familiar with SoundCloud, be sure to check them out, too! SoundCloud is a tremendous vehicle for sharing your music with the world—or show it to just a select few! SoundCloud also supports private tracks and distribution lists, ensuring that your precious new tracks are only shared with the right people.

We've been using SoundCloud to post some audio demos from time to time, but we have plans to start using SoundCloud to a much greater extent. More news on that story as it develops...

We are proud to welcome Patricia Tan into the newly created executive management position of Chief Human Resources Officer (CHRO)! In this role, she will be responsible for overseeing the global human resources operations for The MUSIC Group, which is the holding entity for BEHRINGER, BUGERA, MIDAS, and KLARK TEKNIK. The group holds offices in Germany, Singapore, Philippines, China, UK, Australia, Japan, and the United States. Patricia honed her considerable HR skills while working with such companies as Credit Suisse, Sumitomo Banking Corporation, DHL, and the Internet superpower Yahoo!

“I see many similarities between BEHRINGER and Yahoo, especially that the founder-CEO started the business straight out of college in a cool industry that caters to both the young, and the young at heart. I am honored to be entrusted with the responsibilities of this new position,” Tan commented on her appointment. She continued, ”not only is The MUSIC Group scaling new heights, but even closer to my heart, is the ongoing transformation of mindset, behavior and expectations, which will evolve into a brand new lifestyle and customer experience.”

“We are very excited to have Patricia on our management team,” said Uli Behringer, Chairman and CEO of The MUSIC Group. “Her wealth of experience coming from Fortune 500 companies such as Yahoo, and her high level of energy are exactly what we need to get The MUSIC Group to a new level. As we transition into a multi-national consumer brand, and continue to build our new management team, it is my priority to assemble a stellar group of executives with the skill and desire necessary to help us lead the Group toward success.”

 

8. Try Something Totally Weird And Crazy!

This may sem like an odd tip, but hear me out. So much emphasis is put on how to record things right. In a way there are certain techniques, rules, or principles that help guide us as we try and capture sound in a real space (or not) and put together a recording that is clear, coherent, and enjoyable to the listener. And a lot of times we (myself included) focus most of our time trying to mimic a certain sound or style we ourselves enjoy. But in reality, recording great music isn’t truly about rules or patterns. So much of what we love about “classic” recordings has to do with the spontaneous, the resourceful, and the radical nature of those recording sessions.

What I’m trying to say is, one thing people have been doing since recording first began and you can do in your home studio each and every time you sit down to do a project is to try something totally different, bizarre, and weird in hopes that you might just stumble upon greatness. Put your mic in an awkward position, record your drums in a gymnasium, use a synth bass line on your emo acoustic song...just do something random and see if it works. Recording music is an art form, not just a vocational skill. Be creative, be daring, be obscure. Push the boundaries just a little bit each time and see what comes of it. If you go “too far” and it takes away from the song, no worries; just back it off and move on. You have nothing to lose by trying...and so much gain if you stumble upon the next great thing!

Now get to it...
I hope these 8 simple tips help you do one thing and one thing only: make better recordings now! I don’t want you to wait any longer or keep making excuses about why you aren’t ready to record your music. Read this blog and others like it, learn and don’t stop learning...but most importantly, get out there and make music. These simple steps will ensure you get better recordings without spending a lot of money or time, so now that you know them... what are you waiting for?

Be sure to check more tips over at therecordingrevolution.com!

Truss Rod Adjustment

Trees love water—it keeps them flexible so they can bend and sway gently when the wind blows; it nourishes them by delivering nutrients from the soil, and even keeps them from burning during a brush fire. But once a tree has been harvested and turned into a piece of lumber (or a guitar), water can become its worst enemy.

Too much water and the wood (think of a sponge) begins to expand or warp—and in an extreme case, can even start to break down and rot! Too little water and wood begins to dry out and shrink, becoming weak and brittle.

Why all this talk of trees and humidity? Because the amount of humidity (water in the air) directly affects the way your guitar plays. When the humidity is high (during spring and summer), the truss rod that helps keep your guitar’s neck straight against the string tension will probably need to be tightened to achieve low playing action. Conversely, in those dry winter months, you may find that the strings buzz all over the place, which means you should loosen the truss rod to provide some relief to the neck.

Step 1: Tune Up Your Guitar

This is what we will be looking for:





          Too much relief, truss rod needs to be tightened.







          Not enough relief, truss rod needs to be loosened.



Step 2 – Check the Neck Relief
Check for neck relief by using the string as a straight edge. To do this, press the string down at the first fret with your fretting hand and place the thumb of your picking-hand at the 14th fret. Now extend your index finger to the midpoint between the two (See above image).



Step 3 – Adjust the Truss Rod
When you press the string down at the midpoint fret, there should be a slight gap between the string and the fret (about the thickness of a single sheet of copy paper for guitar, a bit more for bass). If the gap is too big, tighten the truss rod* slightly (with that funny-looking tool that came with your guitar) and check again. Repeat until the gap is reduced to the desired distance. If there is no gap at all (you can’t hear a faint tapping sound as you press the string down), you should loosen the truss rod slightly and check again. Repeat as needed, and remember to check your tuning after each adjustment.

*Note: The truss rod adjuster will be located at either the peghead (under a small cover), or at the end of the neck where it joins the body. Adjustment typically requires a hex (Allen) wrench or nut driver and may take as much as a day or more to settle in, so be patient.

These adjustments should be very small—in fact, one-quarter of a turn is a lot! If the truss rod adjuster is really difficult to turn, or if you have to adjust it more than ¼ turn, you should probably take your guitar to a local tech. A broken truss rod can be very expensive—and on an inexpensive instrument, such a repair can be the kiss of death!

Special thanks to Marguerite Pastella at Fret Not Guitar Repair, Inc. in Newport News, Virginia, USA for providing these images and her words of wisdom. For more information go to: http://www.fretnotguitarrepair.com/trussrods.htm

Next week: Adjusting Individual String Height at the Bridge!

Bassist and producer Andre Berry is now a BEHRINGER Artist, we are proud to announce! Andre studied double bass at the Cleveland Institute of Music. He also attended the Beachwood Recording School, earning a degree in studio engineering.

When asked about his engineering skills, Andre replied: "I engineered Warren Hill’s last PopJazz record as well as Rayford Griffin's 'Rebirth of the Cool.' I do countless demos for people in different studios. So, I still do that on the side."

This summer, Andre is touring with the Dave Koz Summer Tour. Andre's newest album, "Off the Beat 'n' Path" was released this year. It features music that appeals to the smooth jazz format, but Andre takes risks and the music is more obscure than stereotypical.

Andre has worked with a myriad of respected artists including: the Brothers Johnson, Tom Scott, Dave Koz, George Duke, Marcus Miller, film composer David Newman, The Boneshakers, Jeff Golub, Mindi Abair, Peter White, Warren Hill, Rick Braun, The Sax Pack, Wayman Tisdale, Euge Groove, The Satellite Orchestra, Pocket Change, and Brian Simpson.

He's also contributed to the folllowing film scores: "The Spy Next Door," "Alvin & The Chipmunks II," "Welcome Home Roscoe Jenkins," and "Crazy On the Outside."

For more information, check out Andre's website at andreberry.com!

 

 

Back in the days when the local Opera house was the pop music venue of choice, poor vocalists couldn't afford microphones.

No, wait, orchestration pre-dates amplification, of course, so vocalists didn't even HAVE microphones. Duh. Anyhow, these vocalists REALLY had to belt it out to be heard over the brass. What's fascinating to me that this vocal aesthetic has endured in today's heavy music, despite the fact that amplification has largely rendered the technique unnecessary. While we have plenty of live sound equipment like loudspeaker amplifiers to aid a vocalist in being heard over a band, listeners still respond positively to a singer who is really giving it his/her all—as if they were projecting to the back of the hall in 1814. Bruce Dickinson and Rob Halford, in particular, are both known for a higher-pitched, trumpeting vocal style that soars over the bass-heavy roar of the band.

So how does one best execute this style? It's half technique and half showmanship. Some tips:

1. Hold your abs tight when you sing, and sing from your chest. Stand tall! Note that holding your abs tight is different then not letting go of a six-pack.
2. Don't sing at max volume all the time. Your voice won't last the entire show! Throw your whole body into the performance, and act like you're singing at max volume without actually doing it. Act like you own the place, confidence is key.
3. If you want to project to the back of the hall—look back there. This provides a visual analog to imply your voice is soaring over the crowd, even when it's actually hitting them in the face.
4. Drink room-temperature water between songs—cold water will constrict your vocal chords.
5. Most importantly, take lessons. A professional vocal instructor will ensure your greatest performances, which is ultimately what will garner you a larger fan base. Also, sound vocal technique will prevent voice damage and allow you to sing not only for an entire show, or entire tour—but for your entire life!

Anyone else have some pointers?