How To Make Your Very First Beat

Beat making really isn't all that difficult. And you don't need an expensive setup. The only items you really need are beat making software and your imagination. If you're into music, making tracks is definitely a ton of fun. It's an awesome experience to hear the bass thumping on the track that you have made all by yourself.

Basic Guidelines

There's only a couple of basic rules to follow when you're making a beat. Though a beat that sounds great is the most important thing. The guidelines are useless if they make your beat sound terrible.

One of the primary guidelines is to use 4/4 time when making your beat. Almost any beat you hear follows this rule. Your beat maker will probably already have this set, but if not then do so before you start.

Now, look though your samples and choose a kick drum that tickles your fancy. Place it on the very first measure. Skip the next measure then put a snare drum on the 3rd measure. Now on the 4th measure put a closed high hat. Finally, if you want a a bit more fill you can either place another kick drum or another high hat on the 2nd measure. That should give you a basic beat.

Filling Out The Beat And Making It Your Own

Now that you have a basic beat we can get to the fun part. This is where your creative side comes into play. How you lay everything out from here is what really gives your beat it's main sound. So here's some tips to get you going.

When I'm making a beat, I dig into my samples in this step. I might have a preconceived notion or I may just play with sounds until I find something I like. I might pull out scratches or vocals or an organ. Once I have a few sounds I like I lay out the bass line. The bass line is what I use to pull the whole track together.

Turning Your Beat into A Full Track

Up to this point you probably only have a couple of bars. Copy the bars you have and extend them over the next 12 bars. Depending on the tempo you're using that should give you 30 seconds or so. Now you can add some type of transition like a drum roll or a building synth sound then move into another beat.

Evaluating Your Work

How does your track make you feel? Fantastic? Then you're done! No reason to keep playing with it. Want to see if you're able to make something that you like even more? Swap out the kits you're using to something else. You could also try slowing the track down or speeding it up. It's actually not all that difficult to get a new experience out of a beat simply by messing around with the kits.

You should also let one of your good friends listen to your track to find out what they think. They may not like it, but don't worry about it. Listen to their feedback and make some changes. This type of feedback is what really helps to make you better.

Moving On From Here

That is really all you need to know to make your first beat. From here it's just a matter of practice. Keep putting out beats. Try to make a new one each day. You don't become a top producer just by making one beat.

Another way to get some practice is to try to re-create a track from one of your favorite artists. Try putting your own twist on Kanye's new track. You can also check out YouTube and watch others make beats then try to mimic what they do.

Now, jump in and get your feet wet. You're going to need practice if you want to get better. What I've written here is enough to get you rolling. Dig into your creativeness now and go produce some really sizzling tracks.

For more great resources on beat making check out Pro Beat Maker. I'm constantly adding new tips and tutorials that are catered to beginners.

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Tips on How to Effectively Practice Guitar

Don't know what or how to practice guitar? Don't worry. There are easy tips to get started with your guitar practice and I can share it to you if you like. But first, you should have prepared the things you need to play guitar. You can read my previous article to learn what are the things you needed. If you're all set, then you can check the guidelines below.

Know what you want

Everything starts from an idea and you better know what you are getting into before even attempting to practice. You want to visualize what you want to learn for the coming week or for the following months. You might want to go deeper with scales, assuming that you already get a good idea with playing chords. You can learn whatever. The thing is, you just need to know what it is first. That's the first step and some prefer this as planning, it's pretty much the same for me.

Figuring your time

You then have to figure how much time you'll devote to this process. If you are willing to give 3 hours of real guitar practice then that's great. You can also give at least an hour a day or even few minutes a day or a week. It doesn't mean that you give 3 hours of practice, the more skilled you will become. It's about how you manage your time and what kind of "guitar practice" you have inserted into that time allowance. So a fine, specific and complete practice fit in an hour can be better than a disorganized, non-focused 3-hour exercise. Go figure.

Set the schedule and be religious to it

Now you probably have a time allotted for each day, and so you will then need to set a schedule. See, if you have in mind a special skill you want to achieve or a guitar piece perhaps, you should include that 60 percent of your time for practice. For example, you want to learn the piece, "Flight of the Bumble Bee", you will have to give around 40 minutes training that is relevant to that piece, that is if you plan to have an hour a day. Remember that the 60 percent is considered as the meat of the practice. Only do the relevant things and forget about the other things.

The other forty percent is divided into other exercise that are crucial. These are finger and picking exercise. Chromatic scale training is great for hitting finger exercise and picking training at the same time. You can also do other scale forms or dedicated finger and dedicated picking exercises as well.

By the way, it's up to you how much time you give for warm up and cool down stretching. It's highly recommended though for you to avoid injuries.

Of course, you need to be religious with your exercise program. You don't want to end up failing or not progressing at all after a month. Set a strict time. A time where you are not usually disturbed by someone or with your other schedules like school and work. For students, it would be best to have practices on the afternoon or after you're done with your homework. For working people, it will depend on your schedules. No matter what, you should accomplish your practice daily or as you plan it to be. Sticking to the plan will guarantee success. This is also why I prefer having shorter but effective guitar practice schedule. This way, the practice doesn't bore you and it doesn't take much of your day.

Good luck in your guitar training and practice! Don't forget to stay positive and always work on things no matter what.

Learn how to play the guitar and check some more tips regarding the instrument and music in general in my website. Playing guitar has never been as easy. You can do it!

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What Is Audio Mastering And How Does It Work?

Well, recorded music/audio goes through multiple stages and transformations before it's finally ready for commercial release. The audio mastering process varies and is entirely dependent on the music. Where some tracks might benefit from a little broad band equalisation, a touch of gentle compression and maybe a little analogue saturation, others may call for a more aggressive approach.

Mastering is both the last stage of production and the first stage of manufacturing, it's the final step in the creative process, where aspects of the track are enhanced or reduced and where the songs that make up an album are brought together into a cohesive whole.

To enhance your initial mix, a mastering engineer can raise the track loudness, create stereo images, equalise the mix to cut through more aggressively and use tools that reduce noise or hiss. Ultimately, the aim is to create a balanced, equalised, sonically enhanced, and usually radio friendly sound which translates well across the modern day line up of audio formats and playback options.

Compression & Normalisation
Compression is usually applied to bring lower sound levels up to meet the higher levels, a process that enhances the general sense of loudness. In recent years, digital techniques have been applied which produce levels so high that maximum loudness has been fulfilled across the entire length of the track. This sounds good initially, but later on we begin to see that the dynamic of the mix has been sacrificed to do this, which is also more fatiguing to listen to over an extended time. Record labels and audio mastering houses have always competed to produce louder records, but with modern digital tools we're now at the end stages of this competition.

Normalisation is a means of raising the level of a digital recording to ensure the peaks reach maximum level. This is a trap many semi-pros (among others) fall into. When done for an album project, it results in "quiet" tunes that sound louder than the "loud" tunes generally. In addition, when a 16 bit recording is normalised, the low order bits (which carry much important musical information), can be truncated leading to harshness and a weakening of the stereo image by losing important spatial cues.

In Conclusion
By not mastering your mixes, you're effectively bypassing a critical phase of musical creation that will help to translate your original idea to the listener's stereo system. Mastering really can make all the difference, between sounding mediocre and sounding great.

Mixpro offers online mixing and audio mastering facilities for musicians, songwriters, record and film companies at competitive rates and extremely high standards.

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Piano Exercises to Strengthen Your Fifth Finger

[1] Piano exercises to strengthen your 5th finger - Exercise No. 1: Play Scales

Place the right thumb on middle C. Index finger on D, middle finger on E and the rest of your fingers on the subsequent higher keys.

Now play CDEFG with your right hand using th e fingering you have prepared as I have described in the paragraph above. Next play the scale in reverse, GFEDC. Maintain the same fingering.

Place the left pinkie on the C one octave lower from the middle C. Fourth finger on D, middle finger on E and the rest of your left fingers on the subsequent keys.

Now play CDEFG with your left hand using the fingering described above.Then play them in reverse GFEDC. Use the same fingering.

Practice the exercise with your right hand, then with your left separately at first. When you are able to play smoothly try playing with both hands at the same time.

Why is this piano exercise useful?

The 5th finger - our pinkie is the weakest finger we have. When playing the piano you will notice as I did when I was a beginner that it is difficult to hit a key firmly with the pinkie. It is also the first finger that tires after playing for an extended period of time.

By practising scales we are forcing the pinkie to do work. The more work the pinkie has to do on a regular basis the stronger it gets. Practising scales often also increases the 5th finger's stamina so that it can play a longer piano piece without getting tired too soon.

[2] Piano exercises to strengthen your 5th finger - Exercise No. 2: Arpeggios

Place the right thumb on middle C. Press it. Using your index finger - play E. Then play G with the middle finger.

Move your thumb under the palm of your hand to hit the C one octave higher from the middle C. Using your index finger play E, then G with the middle finger and finally the C on the next higher octave with your pinkie.

Play them in reverse, CGECGEC. That's right, use the same fingers as when you were playing the arpeggio ascending just now.

Place the left pinkie on the C one octave lower from middle C. Play it. Using your middle finger play E then G with the fourth finger and hit the middle C with your thumb.

Swing your middle finger over your thumb to play E, followed by G with the fourth finger and finally reaching the finale by playing the C one octave higher from middle C with the pinkie. Next play it in reverse.

Practice the exercise with your right hand, then with your left separately at first. When you are able to play smoothly try playing with both hands together.

The piano exercise is called arpeggio. Why is it useful?

Soon enough you will learn that the 5th finger is one stubborn cookie. It does not really follow your commands when playing the piano. When playing a fast paced bar of semiquavers for instance it tends to attach itself to the fourth finger when you actually want it to hit the keys independently on its own.

By practising arpeggios we can train the pinkie to not cling itself to the fourth finger and enable it to play as an individual finger. Visit http://www.all-piano-online.com for more piano exercises, tips and advice to improve your piano playing techniques.

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Audio Engineering School Produces the Unsung Heroes of the Music Industry

When considering an audio engineering school and the process of recording an album, scenes from a Metallica documentary immediately come to mind: band members - nay, good friends - screaming back and forth at each other at the tops of their lungs, on the verge of breakdown in a deluge of cabin fever, a performance that would make Jack Nicholson proud. Stress can quickly turn the creative process contentious, and too little credit is given to the brave men and women who must bear witness to these banal arguments between overpaid prima donnas, the audio engineers.

Apart from the musicians themselves and the fly on the wall, few know of or appreciate the long hours spent toiling away in pursuit of the perfect sound, the blood, sweat, and tears that form the foundation of every seminal album. In the eye of the storm, the sound engineer must maintain his or her professionalism while converting abstract ideas from the possibly mood-enhanced minds of musicians into tangible sounds. Babysitting millionaires might not be what these unsung heroes signed up for in audio engineering school, but the process of recording, editing, mixing, and mastering an album - and then taking that album on the road - creates a legacy that goes beyond the credit in the liner notes.

John Lennon once wrote, "There's nothing you can do that can't be done; nothing you can sing that can't be sung." It might be hyperbole, but if the Beatles all-encompassing work at Abbey Road Studios is any indication, Lennon and McCartney were intent on doing for the professional recording industry what Magellan and Cortez did to the professional cartography industry. But while explorers may not be happening upon any undiscovered lands anytime soon, the growing audio engineering school admission rate indicates that the youth of America is out to prove Lennon wrong. Sound engineers are by nature an innovative bunch, constantly exploring new sounds and pushing the limits of technology. What began as practicing and studying quickly evolves into experimenting and recording.

While music production is most commonly associated with sound engineers, the skills are equally valuable in the film and television industry. The art of post-production audio - which includes Foley recording and editing, background and sound effects editing, and ADR and dialogue editing - is an integral part of every finished television show and movie that comes out of Hollywood. The knowledge gleaned from an audio engineering school is applicable both inside the studio and outside of it. Having a song sound great in a pair of quality headphones and having that same song sound great at a live performance are two different animals entirely.

A sound engineer must be trained in monitor setup and operation, console operation, lighting and video production, sound reinforcement, and live recording and mixing. Without him, there would be no album, no concert, and no film. While he or she may not discover the riffs, play the instruments, or write the lyrics, the fingerprints of an audio engineer can be seen everywhere.

Resource Box:

Musicians Institute, a music school located at the heart of Hollywood, stands as a venue for aspiring and professional artists to master their crafts. Whether a student is taking a vocal, guitar, drums, keys, bass, or audio engineering course in the school, they will receive a music education designed to develop them as well-rounded artists. For more details on the various musical and technical programs offered at MI, call 1-800-255-7529 or visit MI.edu.

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Common Mistakes Made When Playing the Djembe Drum

Hand drums have become extremely popular over the last few years, both for use on stage and in informal settings like drum circles. The djembe drum has proven itself to be incredibly versatile in both scenarios. A few common mistakes exist that players often make when playing this or any other type of hand drum.

The djembe drum is a very good choice for players looking for a single drum to cover many different sounds. Many different styles of djembe drums are available to appeal different player's preferences. Some drums have synthetic heads and others have natural-skin heads. Each type of head has its own challenge. Synthetic head can get tuned too tight, causing a lot of "ring" and overtones that you don't want. With a natural head, the tones tend to be more "organic" and the drum produces fewer overtones. If the head gets over-tensioned, it can be tricky to down-tune it. The easiest way to avoid this is to tune the synthetic head a bit at a time and checking the tone as you go.

Another misconception is that as the drummer you should play louder, or that the bigger drums should be played louder. This is a common problem, but it isn't very considerate. If you go to a drum circle with a few people playing djembe drums you will probably notice all of the players pounding away and the volume steadily increasing. Djembe drums are capable of being very loud, but the beauty of the djembe is that you don't have to be the loudest to be heard.

Another issue that goes hand-in-hand with this problem is that players have a tendency to speed up as they play louder. The best way to avoid these two issues is to simply use your ears. If you can't hear the players around you, then you are probably too loud. Some people find it very helpful to close their eyes for better focus; after all, the drum won't go anywhere.

The djembe is a great drum, and it is easy to play, even for a beginner. However, just because it is easy to play doesn't mean that the basics should be ignored. Many casual players have a good time just pounding away without knowing how to coax the variety of sounds that are possible out of the drum, while other players take the time to learn the basics of where the tones are located and how to bring them out of the djembe. Knowing how to create the three basic tones on the djembe drum will allow you to play it like a symphony.

Looking to purchase a West Africa drum? Visit the Djembe Drum Shop to view their extensive collection and to buy online - http://www.djembedrumshop.com/.

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The 5 Best Guitar Effects

Once upon a time a person would buy a guitar and be strumming away on the bus on the way home. These were obviously acoustic guitars and did not require any electricity in order to work. Although acoustic guitars are still popular most people go for an electric guitar.

The classic electric guitar sound is changing and people want more form their instrument. They are looking for a unique sound, their stamp on the guitar world. A good way to get your unique sound is with an effect unit. Guitar effect peddles and units are available in all sorts of shapes, sizes and budgets and you should shop around and check the facilities of each unit before you buy but below are listed 5 of the most popular guitar effects.

1. Distortion: Distortion is usually something that audiophiles try to avoid but in the case of guitars it is often an essential effect. Distortion will give your guitar a gritty sound, the classic electric guitar sound that is often heard in rock tracks. A fuzz pedal is a form of distortion.

2. Dynamics: Examples of dynamic effects are compressors and noise gates. Dynamic effects modify the volume of your sound and were one of the first guitar effects to be used by modern musicians. Dynamic effects can be used to create some really wacky, unique sounds.

3. Filter: A filter will control which frequencies reach your amp from your guitar. You may cut the bass or the treble to get your desired sound. They are simple devices but they will help you create you unique sound and help you stand out from the crowd.

4. Modulation: In radio modulation is what they do to a set frequency in order to transmit information. In guitar modulation effects means guitar heaven. You can twist and transform your guitar sound into practically any noise you want. Really spectacular effects can be created using modulation.

5. Delay/echo: As the name suggests the delay and echo effects provide an echo or delay to your guitar. An echo will give your guitar a much bigger feel and will make your guitar sound like it is being played in an auditorium rather than in your bedroom. But beware, you should use echo sparingly as too much can make your guitar sound cheap and make your track sound terrible.

These effects are available on most guitar effects units but not all units are equal.

The Zoom Guitar Effects unit is one of the best available guitar effects units on the market and contains all the above effects and much much more.

Click here now to see more guitar effects units.

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