Musings

A TrueFire Thanks

by Brad Wendkos, Founder of TrueFire

We’re celebrating our 18th Thanksgiving as a company today. Jacquie made us an incredible brunch of blueberry waffles, egg casserole, sausage and potatoes, which we inhaled in a matter of moments.

We sat and ate together surrounded by vintage Buscarinos, D’Angelicos, Gibsons, Fenders and 87 other “essential” tools of the trade hanging on the walls. Even in the midst of our busiest season, as we’re posting our 2009 Thanksgiving Giveaway, the team is laughing and in high spirits. Someone is playing Larry Carlton, Monte Montgomery and Frank Vignola throughout the building. Its times like these that make us realize just how much we have to be thankful for.

We get to work with the sweetest and most talented guitar players on the planet – over 450 of them! We get to craft and produce curriculum covering topics that we ourselves have always wanted to learn or drill down deeper on. We get to eat, breathe, talk and play guitar 24/7.

But it’s really all about our members, students and friends of the fire. Yes, we’re talking about you! You make this possible for us. Your support, feedback, guidance, loyalty and friendship keeps our “fire” burning bright. We appreciate and thank you for this gift.

Happy Thanksgiving!

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Musings

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November 24th 2009

Branding: Musical Identity as a Career Move

by Rich Tozzoli

On this past Veteran’s Day, the Punch-In ran a handful of videos featuring performances of “The Star-Spangled Banner.” Slash was featured in one of them, and in a very rare move he performed without his trademark top hat. Or, we should say, the hat wasn’t on his head — it sat on a nearby guitar stand. And while it was very cool to see Slash honor the hats-off tradition for the national anthem, it also got us thinking about what that signature stovepipe hat is all about: Branding.

Yes, we mean “branding” in the crass, capitalistic, Madison Avenue sense. Of course, the marketing term is based on the red-hot iron brands burned into the hide of livestock. Those indelible marks were used to create a permanent stamp of identity, and that’s exactly what promotional branding is all about today.

If you thought branding was the exclusive domain of Coca-Cola and Apple Computers, well, think again. It also works wonders for that one-and-only guitarist with a top hat, black curls, and a low-slung Les Paul.

Black Magic Marketing
Another great example of a successful brand is Carlos Santana. Did you know he also sells Carlos brand perfume, handbags, and women’s footwear? No fooling. That’s not to mention his Santana Reserve Brut wine and a chain of Maria Maria restaurants with a guitar on the marquee.

You might chuckle (we did) but do you get why Carlos can sell all of those products when they have nothing to do with music? It’s because he has cultivated a marketable identity. He’s not selling a sound or a song — he’s selling Santananess. He is remarkably consistent with his brand, too: his album covers, clothes, guitar inlays, and his website all share a look and an image. It all started with his sound, but Carlos (the musician) and others like him have parlayed a musical signature into a brand that can be easily identified — and then promoted and sold. The mention of their name conjures a sound and an image all at once. Slash. Metheny. Flea. Hendrix.

And you are…?
So, we have to ask. What’s your brand? How do you distinguish yourself? Is your guitar playing unique in its own right? Do you augment your professional image with some non-musical signature like clothing or artwork — and is it consistent across your blog, your cover art, and your MySpace profile?

Can you describe your musical approach in just a few words? If someone caught your show and wanted to tell a friend about you, what would they say?

Just Do It
If it’s a little tough to accept that our well-loved art form of music is so entangled in marketing, consider it another context. Think about the brands of certain sports figures, and what they represent: Michael Jordan, Shaq, Allen Iverson, Deion Sanders, Peyton Manning, Derek Jeter and so on. These guys each have a certain “packaging” that is immediately recognizable. Their appeal is shrink-wrapped for the consumer. These people have turned their talent and image into a unique brand that, to be blunt, helps them make money.

Are they so different, really, from Jimmy Page, Robert Smith, the Edge, Eddie Van Halen, Ace Frehley, or Larry “Mr. 335″ Carlton? Regardless of your personal likes and dislikes, or your distaste for mixing money and creativity, there’s no denying that the recognition factor is a valuable asset.

Create…and Cultivate
Now step back and think of a few things that might help you build recognition in a media-blitzed world filled with competition. What small lessons taken from the giants mentioned above might be used to help promote yourself and/or your band? What would separate you from the pack and give you an edge?

We mentioned Slash at the outset — his image since the first day the Guns ’n Roses broke has remained consistent, helping to brand Slashness in our minds. For the Edge, it’s been the use of delay and a perennial knit hat. The same applied to Eddie Van Halen for years, with his insane technique, that big grin, and “Frankenstein” guitars covered with bicycle-tape stripes. If you saw EVH playing a sunburst Telecaster, it would be like, whoa, that’s odd! So, what small detail would help you foster a consistent and memorable image? It could be as simple as a cool sticker on your guitar (Tom Morello) or eyeshadow (Robert Smith, Billy Joe Armstrong). It could be a totally unique guitar tone (Bill Frisell, SRV). While the possibilities are nearly endless, it’s important to try to do something to make yourself unique.

You Be You
Finding something that makes you stand apart from the crowd may not be so easy. If it’s any good, it will probably take some work and serious thinking time. Learn from others, both inside and outside of the music business. Observe how they do what they do on television, in print, and elsewhere in the media. Step back and examine yourself as you identify what your USP — Unique Selling Proposition — might be. Then act upon it and keep the message consistent.

Our last bit of branding advice is to think about your strengths as a player. Consider what makes you proud as a creative person. Bear in mind, you don’t have to change who you are or what you create to establish a great brand. On the contrary, you want to hone in on those unique identifiers — and then capitalize on them.

Rich Tozzoli is an accomplished engineer, mixer, producer and composer. He has worked with artists such as Ace Frehley, Al DiMeola and David Bowie, among many more, and is the author of Surround Sound Mixing for ProTools. Rich is also a lifelong guitarist and composer. His work can be heard regularly on FoxNFL, HBO, and Discovery Channel.

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Interviews

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October 9th 2009

Fireside Chat: John Patitucci

Grammy-winning jazz bassist John Patitucci pulled up a seat to chat with our very own Charlie Doom.

1. If you weren’t a musician, what would you be and why?
If I wasn’t a musician I would like to be a pastor/theologian. Besides my faith and beliefs, I would also feel strongly about helping people and working at something that I think really is important and that actually makes a difference.

2. Honestly, how many hours a day do you practice?
It varies at this point in my life, because my schedule between family, playing , composing, touring, recording and teaching is constantly changing. If I am home, I try to put in a couple of hours at night. Sometimes, I go for a few days without practicing if I am working a lot. Sometimes I will practice for 3 or 4 hours. It really isn’t the same as when I was younger and single. Then, it was at least 3 hours a day and sometimes much more.

3. What are you listening to lately?
I listen lately to many things, African music like Ladysmith Black Mambazo, Coltrane CD’s, Bach’s Goldberg Variations for solo piano, Al Green, Dutilleux’s piano music, etc….

4. How would you describe the music business today?
The music business today is harder than ever for young musicians to get started in. There is also a huge problem with the public thinking all music should be free, which will destroy a composer’s means of earning a living from royalties.

5. Stranded on a desert island, which bass would you take?
I have been asked many times to say which bass I prefer- Electric or Acoustic and I will not answer that because I love both. If I was stranded on a desert island, I would still take both basses.

6. Should world leaders learn how to play bass? Why?
World leaders could all learn about life, communication, self- lessness, a group identity and service orientation from bass playing. They could also learn to be both strong and flexible at the same time.

7. Let’s talk about what’s going on with you right now, your new album, and what’s next?
Right now I am doing gigs to promote my new trio CD called “Remembrance”, which features Brian Blade on Drums and Saxophonist Joe Lovano, with guest appearances from my wife Sachi on cello and percussionist – Rogerio Boccato. I am also playing gigs with Wayne Shorter’s Quartet, teaching at The City College of New York, composing, session work, etc… I will also be doing some teaching for the Thelonious Monk Institute in New Orleans this Fall as well as being a judge in the Monk Institute’s Bass Competition this October in Washington D.C.

Questions submitted to TrueFire via Facebook, Twitter, and our Forum:

8. From “Jason1782″ – What was it about jazz that attracted you to it?
The Spirit, passion, improvisation, rhythms, feeling and soulful power of Jazz attracted me to this great musical genre.

9. From “stratmaster09″ – what was it like to work with B.B. King? George Benson?
B.B. King and George Benson are 2 of the greatest guitarist/singers the world has ever heard. Their artistry and warm personalities have inspired so many musicians and fans that i can hardly describe their impact in words. I am humbled and honored to have played with them.

10. From “BassBruther79″ – The approach to bass guitar has seen a tremendous transformation over the past 3 decades, where do it you see it going today? Anything exciting you?
The history of the bass guitar over the last 3 decades is not something i can adequately address in the short time and space i have here. We have seen many stylistic, technical and sonic developments in the last 3 decades. I don’t know where it is going and i am always interested in watching what happens. In terms of getting excited about things, the technical pyrotechnics don’t really excite me too much, unless there is REAL MUSIC ALONG WITH IT . I think that there is sometimes a danger of just overplaying when people get bewitched by the techniques that are available today. I am all for new things when they serve the music and make things feel great.

11. From “Torr71″ – where did you get your inspiration from as a young artist? And who would you like to collaborate musically with that you haven’t already?
I got my inspiration as a young artist from my older brother Tom, Motown records, Blues records, Jazz records from Wes Montgomery, Ray Charles, Art Blakey, Rock and Roll records like: The Beatles, Jimi Hendrix, Cream, my father’s opera records, my family in general. Most of the musicians that i haven’t collaborated with that i really wanted to, are gone. People like Coltrane, Miles, Gil Evans, Joe Henderson, Phineas Newborn etc….

12. And finally, any words of wisdom for your fans and fellow bass crusaders?
If you want to play music and want to make it your life’s work, i think it demands a love for this life of creating, a sense of passion and a calling. We play music because we MUST play , not because we think it might be a nice diversion or something that is just a trivial amusement ( even though it is so much fun). I play because i believe that this is the gift that God gave to me. I believe that we ALL get gifts and music is the one that i am responsible to develop to the best of my ability.

Check out Patitucci’s latest musical release, Remembrance, at his official website – http://www.johnpatitucci.com

In his own words:
“We’re paying tribute, but we’re also shaping the music to reflect who we are. We’re not just copying or resting on the musicians who came before us, we’re playing this music as our way of contributing to the evolution of jazz.”
- John Patitucci

A TrueFire Perspective:

Sometimes it’s easy to forget that the bass is a guitar, too. But it is impossible to ignore the sublime sounds and moods those four strings can evoke under the fingers of a true artist. With the release of Remembrance, John Patitucci and his trio have produced what has become something of a rarity: an album you can listen to from start to finish. Whether you dig jazz or can just barely stomach it, there is a lot to be said about a recording that seems to find a place for itself in your everyday life. Admittedly, I am a lover of old school jazz, which is probably why I enjoyed this album so much. But it’s not a traditional or conventional jazz record. Rather, it captures the essence of what makes those old jazz comps so satisfying: the bloodless battles between fleeting moments of beauty, ugliness and pure inspiration. At the very least, Remembrance offers several tracks worthy of your Favorites playlist. But don’t just take my word for it. Have a listen and let us know what you think. — Charlie Doom

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Musings

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October 2nd 2009

Yes, Master

“Mastering Engineer” — an industry job shrouded by a magical black veil of intrigue and mystery. Who are these guys? What do they do behind those closed doors that makes your music sound so good? Why might you need one — and why can’t you just use a piece of mastering software to replace them?

Before moving forward, let’s take a step back. One of the hardest things for any recordist/engineer/producer to do is to make sure all the frequencies of your mix are even and balanced. Think of the many variables that might throw you for a loop in that department: your speakers, the room they are in, the desk or stand they are on, the software you’re using and the hardware it’s running through…. All of these factor into the final mix’s equation. That’s not to mention your own ears, by the way, which may or not be as finely tuned as you’d like to believe.

Tuned Rooms

A poorly balanced room or set of speakers may lead you to mix your song with too much or too little bass, mid or treble. Did you ever finish a song in your room that you think is perfect, but then you take it to your friend’s house and it sounds terrible? That’s probably the result of your own setup not offering a true representation of what’s actually been recorded.

One of a mastering engineer’s primary jobs is to check and fix your mixes in a tuned audio room that has been designed to do nothing but that. It takes a lot of hard work, attention to detail and often a substantial financial investment to make sure every single aspect of a mastering room offers an accurate reproduction of your music. That’s what they mean by a “tuned” room: the sound is perfectly balanced out of the (often ridiculously expensive) speakers.

Most quality mastering engineers know their room incredibly well, so they can easily make sure your mixes are even in the lows, mids and highs. They can also level out the volumes to make sure all the mixes sound balanced and even.

Mastering Packs a Punch

Typically using a combination of high-end analog and digital gear (such as equalizers, limiters, compressors and noise reduction units), they can sculpt the final sound of your mix to be one that will sound great whether it’s playing back on huge speakers or on a tiny pair of ear buds connected to an iPod.

Aside of the sonics, mastering engineers also space the songs in the mix order. Then they prepare a final disc or set of files (a master) that duplication houses can use to create CD’s. Even if you’re not making CD’s, a good mastering job still gives you the best shot at making sure your mixes pump through those speakers.

Man vs. Machine

Yes, there certainly are software programs available that let you master your own tracks. Some of them are quite good, too. But make no mistake: the trained ears and experience of a fine mastering engineer, along with a perfectly tuned room, cannot be replaced.

Still doubtful? Send just one of your mixes out to be mastered and then A/B it with your original. If you’ve hired a good engineer at a reasonable price, you’ll see that the difference is worth it. It doesn’t have to cost an arm and a leg, either; certainly less than having your own room acoustically calibrated and equipped for mastering.

Plus, it’s an invaluable experience when the sound coming out of the speakers finally matches the music you first heard inside your head. There’s a good reason why nearly every hi-level commercial release is sent off for mastering before it hits the public’s ears.

–Rich Tozzoli