Musician Expert Advice: How Performance Calamities Can Help You Shine


Musician Expert Advice: How Performance Calamities Can Help You Shine

by Teri Danz

How Performance Calamities Can Help A Musician Shine

How performance calamities can help a Musician shine

Every performer faces challenges, but it is how you deal with them that make the difference. From an audience perspective, performing can look easy when you’re skilled at it. What they don’t see is what every performer knows, and that is, it’s not. It takes practice, patience, training and experience to “look” like it is effortless (or for it to truly “be” effortless). Plus, a great performer develops a “can do” professional attitude to make the best of any situation and make it work in the moment.

Here are some tips that will help you make some sweet “lemonade” from any sour occurrence during a performance.

  1. Be enthusiastic. Enthusiasm is contagious. Many performers and bands have a difficult

time (and consequently a bad attitude) if the venue isn’t full, the sound isn’t great, etc. Your audience, no matter how big or small (even if it’s just the bar staff), wants to be engaged and like you. Pretend you’re in a huge arena (it’s good practice) and give them a reason to root for you.

  1. If you’re the front person/lead singer, you set the tone. The front person’s main job is to engage the audience (unless you’re Oasis’ Liam Gallagher—but that’s another story), communicate the song and command the stage. Of course, there are many more tasks (like sing well or dance!), but the band takes its cues from the lead singer in terms of energy and handling situations that arise. Hint: Don’t ever criticize or admonish your audience or audience members. This can go south quickly. It is better to ask someone ahead of time, like the club or a manager, to handle rude behavior or loud talking, etc.
  1. Be in the moment. Remember that music, in general, and singing, in particular, are “right now” propositions. Being present in the moment is key to making “lemonade” from challenging, difficult and embarrassing situations.
  1. Not perfect, but genuine and real. Audiences want to see you—not you as “perfect”—but you as an artist they can relate to. How you get to a moving performance is by letting go of having to be great and perfect. This means that your training, technique and experience holds you through it and allows you to take your performance to the highest level.
  1. Stay in the song. The song is your emotional context—especially for singers. If you are truly in the song, that is your focus. Interruptions, technical difficulties, band difficulties, audience activities (coming in—going out) handled well are a passing thing. Handled badly, it only makes things worse. You are there to give your best performance, and the key to that is in the song. It is in that context only that the artist truly shines.
  1. Transform the moment. I saw U2 perform at the Oakland Coliseum back during their Joshua Tree tour, and I was sitting way in the back. I remember something happened to The Edge’s guitar, but Bono and the band never stopped. In fact, Bono engaged the audience by asking them to sing with him. The entire place rang with their voices. So huge, in fact, it became an experience (not just a performance). By accepting what happened and responding by embracing the audience, Bono and the band created something magical. In that moment, I knew I wanted to do that—move people through music.
  1. Embrace the audience as your friend. Talk in-between songs and introduce yourself to them. Be open and share your experience. If a mishap occurs—you trip or knock something over on stage, your guitarist breaks a string, etc.—it’s okay to motion or talk to the audience, crack a joke and so on. The audience is not your enemy.
  1. Go with the flow. This means take the whole experience as it comes. Here’s an example. My band once played a club that was having major technical difficulties as we arrived. We, and all the other acts, were delayed, having to wait for them to get it working and hope that the audience would wait, too. When we finally started setting up, our bassist told me that he needed to leave due to another gig. Talk about a curve ball! Playing without a bass player is not what I had envisioned and had no clue how to handle. I could have fought with him, insisted he stay or refused to pay him—but I didn’t. I thought, “Okay, if that’s the way we need to perform, so be it; we’ll make it work!” I offered to pay him and let him go. Remarkably, he decided to stay, and the set went great. Lemonade!
  1. Be professional and respectful. A professional attitude can make the difference between a huge scene and a small adjustment.  It’s okay to stand your ground on some things, if it makes a difference in your performance, but make sure you are calm and professional.
  1. See performing as an adventure. Performing is a choice and a gift. It always changes. With challenges come big rewards, if you can meet them with an open attitude. For inspiration, think of Prince’s performance in the pouring rain at the Super Bowl. He defied the “lemons,” rose to the occasion, and gave the performance of his life!

[Permission Reprint by Music Connection magazine]

TERI DANZ, Ed.M., is “America’s Vocal Coach” and a club hit recording artist. She specializes in pop vocal technique, performance coaching and vocal producing; with a focus on vocal resonance and technique, range and presentation. Named one of the Top Vocal Coaches in Backstage magazine (6-25-15), Danz was also a Backstage 2014 Reader’s Choice Finalist. Her writings include the book, Vocal Essentials For The Pop Singer: Take Your Singing from Good to Great (Hal Leonard Inc.), and articles for Electronic Musician,Music Connection, EQ, Roland and Boss Users Group Magazines, Guitar Player and many more. Danz also publishes The Singer’s Newsletter (free to subscribers) with monthly tips and sponsors, Casio, Sennheiser and The Modern Vocalist World. An accom- plished singer/songwriter, her act has PRO Endorsements by Sennheiser and Graph Tech. See teridanz.com.

For more information on the 12th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com






Big Success Secrets For Booking Gigs You Aren’t Using But Should


Big Success Secrets For Booking Gigs You Aren’t Using But Should

By Tom Stein, Professor, Professional Music Department, Berklee College of Music


Big Success Secrets For Booking Gigs You Aren't Using But Should

Big Success Secrets For Booking Gigs You Aren’t Using But Should

You’ve gotten to the point where your music abilities are strong enough as a group to play out in front of an audience. You know that getting on stage will be the next necessary step to improving your act’s tightness. At this stage it is super-important to get the band playing live in order to generate enthusiasm and momentum. Getting a gig is the next logical move in your development as a band. Yet, because you have never done it, you don’t know how. It’s the old “Catch-22” conundrum: you need experience to get the gig, but you need a gig to get experience. What to do?

First, take a deep breath, and relax. Realize that every single person or band that is amazing at doing anything started out from the same place. For even the most incredible musicians, there was once a time that they couldn’t play their instrument at all. Just like you, they had to begin somewhere. You really have no choice other than to begin from exactly where you are. There are a number of things that have to happen before you actually take to the stage (I’ll list them a bit later in this article). You should first take an inventory to see where you are.

What are your band’s strong points and weak points? What do you hope to gain from playing a live show? Do you have all the equipment you will need? Do you have transportation for yourselves and your equipment? How far are you willing to travel? What do you estimate your expenses will be? These are logistical questions that will help give you some bearings on the type of gig most appropriate for you to go after. I would recommend that you write some things down, and create some useful lists or diagrams.

There are other important considerations. For example, what style of music do you play? How many songs or sets can you perform? Is your music primarily for listening, dancing, or background? Have you created a digital footprint for your music that will allow you to publicize your gig properly, ensuring that an audience will come? Or will you seek a gig at a venue with a built in audience, like a festival? Should you get paid?

I recommend that you make your approach as professional as possible. If you have prepared your logistical plan and know what type of audience you are trying to reach, you will be prepared to speak confidently and knowledgeably about all aspects of your intended performance with prospective venues, clubs, clients or festival directors. If they see that you are well prepared, they are more likely to give you a chance. It is important that you can tell them about what you do in a cohesive way, speaking articulately about why an audience will enjoy your music, why it is in their interest to hire you, and what’s in it for them. Try as best as possible to think from their point of view. With your speech you can paint a picture for them of the opportunity you are offering them, either to make money, enhance their reputation, or just have a lot of fun. Don’t be arrogant about it; just state the facts, and do your best to sell your band, keeping their interests in mind.

While you are preparing to sell your band, you will need to do some research into the opportunities that exist. If you know musicians who are playing out already, ask them where the best places are to play. Check listings in local entertainment guides, and go check out some bands. Hang around the venues as a customer to get a feel for what is going on. Talk to the managers and staff to find out who is responsible for booking. Try to figure out what will fit best in each venue and be prepared to offer that with a strong conviction that you can provide what the venue needs. When you do get in contact with the responsible party, present yourself in a businesslike manner. Dress the part. Shake hands, look people in the eye, and speak with confidence about your music. This usually takes a little practice.

Don’t be discouraged if you get rejected. Failure is an opportunity to start over more intelligently. Analyze what happened and make adjustments to your pitch for the next prospect. Observe how other musicians sell themselves if you are able to. Understand that adversity makes you stronger, and just keep at it, no matter what. Even if you fail a hundred times, you might very well book a gig on the 101st time!

At some risk of oversimplification, we can explain the steps of getting to a gig onstage into a few stages. Using terms relative to the music business, there is: preparation, sourcing, pitching (selling), negotiating, agreement, performance, and follow through. The preparation stage involves taking inventory as described above, plus getting the music tightly arranged and well rehearsed. It might be wise to create some sharp promotional materials. Sourcing means figuring out the places you want to play, doing your homework on them and getting in contact with the person doing the booking.

Pitching your music is talking about what you do, as previously described. You have to sell yourself, your band and your music; you do this by using words intelligently and enthusiastically. You will learn to talk about your music in such a way as to give those listening confidence in your abilities and talent. Closing an agreement usually requires executing some sort of contract, whether verbal or written. Sometimes this is called an “event confirmation”, or similar. The agreement exists to protect both sides through stipulating responsibilities and rights, and clarifying terms. To get to an agreement, a negotiation must first take place. Negotiating is an art form, and is a necessary part of human commerce and transaction.

Performing is where you deliver the goods as promised. If you do this well, you will find that each gig leads to more gigs. People like what they see and hear, tell others about you, and your reputation grows. Of course, if you mess this part up, you won’t last long in the business. So it pays to pay attention to all the details, and do your best to do a fantastic job that everyone will rave about. You are only as good as your last performance.

Follow-through is the last step, and often neglected by musicians. After the gig, you should always contact the venue and booking person to thank them and make sure they were happy. Listen carefully to what they tell you. Any complaints or suggestions for improvement should be taken to heart as they are giving you a chance to better yourself. You can ask them for future gigs and for referrals.

As you begin to see, there is more work to getting gigs than might at first meet the eye. Especially in the beginning, it can be tough to get momentum with booking gigs. It can feel a little like pushing a boulder uphill. The rewards can be tremendous, however. There is nothing like the electricity that happens between a good band and an audience, and the energizing effect it can have on a band. Playing live shows can also be frustrating, such as when an audience doesn’t respond. It is always a learning experience, in any case, and always worth doing.


-Tom Stein is a visionary musical entrepreneur, music producer, artist development consultant, arranger, bandleader and performer on electric bass, voice and guitar. He is also a professional educator; he teaches at Berklee College of Music in Boston, Massachusetts and is the founder of Music Connectivity, a cultural diplomacy firm. www.tomstein.com


For more information on the 12th Annual IAMA (International Acoustic Music Awards), please go to: http://www.inacoustic.com




Size does NOT matter: The REAL secret of great musicianship with Meghan Trainor


by Kate Beaudoin & Jessica Brandon

Meghan Trainor, singer-songwriter

Meghan Trainor, singer-songwriter

How did Meghan Trainor do it? It’s been a year since pop singer Meghan Trainor hit #1 on the Billboard Hot 100 Charts with, “All About That Bass.” Within the year of the video’s release, it racked up an impressive 1 Billion views on YouTube. Before long, the single hit No. 1 on the Billboard Hot 100, where it stayed for nine weeks (also hit #1 in 58 different countries) and helped Trainor’s debut album, Title, debut No.1 on the Billboard 200 charts. The media has written that Trainor came from nowhere, but did you know she was discovered in IAMA (International Acoustic Music Awards) in 2009 and won Best Female Artist with an acoustic song “Waterfalls”? And she became one of the most-talked-about artists of the year. And she did it all on the mantel of empowerment — at least, that’s what she’d have you believe.


“All About That Bass” was so successful in large part due to the idea that it was the new feminist anthem; after all, 2014 was the year of the booty and empowerment was in. But to those who read between the lines of Trainor’s clever marketing ploy, it’s clear as day that “All About That Bass” is as far from a feminist anthem as they come. Trainor’s problematic stance extends far beyond that single. By simultaneously claiming a feminist mantle and advocating an anti-feminist agenda, Trainor has become a threat to all the gains that pop music has made in feminism recently.

What the lyrics are really saying. The messages in Trainor’s songs are often ostensibly about encouraging healthy self-confidence. “I hope [‘All About That Bass’] helps girls love themselves more, because they’re adorable. Women too,” Trainor told Glamour. The issue, however, is that those supposedly empowering lyrics encourage impressionable girls to be happy with themselves only when men deem them acceptable. People criticized “All About That Bass” for its skinny-shaming, but even more concerning is that Trainor claims your worth comes from what men think of you.

“Boys like a little more booty to hold at night,” Trainor sings, explaining why it’s OK not to be a “skinny bitch.” It’s OK not to be a “skinny bitch,” but only because some boys prefer you that way.

The crown jewel of Trainor’s anti-feminism is easily “Dear Future Husband.” When the video for “Dear Future Husband” hit YouTube in March, many rightly claimed that her message was sexist. Trainor’s lyrics advocate outdated gender roles (“Cause if you’ll treat me right / I’ll be the perfect wife / Buying groceries”), seeking self-worth based on men’s opinions (“If you wanna get that special lovin’ / Tell me I’m beautiful each and every night”) and, of course, confirming the idea that all women are crazy, emotional creatures (“You gotta know how to treat me like a lady / Even when I’m acting crazy”). But those who defended Trainor claimed that it was just a song and shouldn’t be taken so seriously.

“I don’t believe I was [being sexist],” she told MTV. “I think I was just writing my song to my future husband out there, wherever he is. He’s chilling right now, taking a minute getting ready for me; it’s going to be great.”

He’s getting ready — doing crunches and 200 pound dead lifts so he’s ready to be strong enough to impress Trainor!


For more information on the 12th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com


MUSICIAN EXPERT: Overcoming Performance Anxiety


MUSICIAN EXPERT: Overcoming Performance Anxiety

by Tom Stein

Fear Is Natural

Musician Performance Anxiety

Musician Performance Anxiety

An annoying part of our human nature seems to focus our thoughts obsessively on all the things that could possibly go wrong in our daily activities. Of course, this becomes more severe when we have to do a performance, an interview, or otherwise engage in an activity that is supposed to lead to a desired outcome that will represent our success. We tend to focus on all the “what-ifs” in these stressful situations, and the danger is that by being nervous we actually increase the chance of the undesired outcomes occurring.

This vexing situation will be familiar to anyone suffering from performance anxiety, or “stage fright”, as it is known in the entertainment field. How do you avoid being your own worst enemy, and contributing to an increased likelihood of failure in these demanding situations? We can use the much-studied phenomenon of performance anxiety, and some of the useful techniques for combating it, in just about any area of our lives prone to inducing stress or nervousness.

Overcome Your Performance Anxiety

When it comes to overcoming performance anxiety, we will need to convert potentially harmful negative thoughts and energies into a constructive positive result, and this is indeed possible. I have developed some techniques that may help you in this regard. These techniques, while simple, do require you to gain a sharp awareness of your thought processes, and to monitor thoughts as they enter your consciousness. These simple and basic techniques for turning anxiety into positive results will take a little time and practice to learn to implement and to get used to them, but once you have gained the techniques, you will use them automatically and forever. And the best part about all of this is that they really work.

Meta cognition

As humans, we are supposedly the only animals on the planet that have the ability to think about our thinking. Whether or not this is true, meta cognition, as this practice is called, does give us the ability to apply reason to the thoughts we are subjected to at any time. Thoughts just occur, it often seems, as if coming at us out of nowhere.

The average human thinks 50,000 discreet thoughts each day. While many of these thoughts might be repetitive, others may be situational, or occur in response to external stimuli. One effect of this constant barrage of streaming thoughts is that we can become confused, or lose track of what’s happening in the moment. We might feel sadness when thinking about something bad that happened in the past, or fearful of something that might happen in the future. Fortunately, meta cognition, or the ability to think about our thoughts and thinking, can be a very powerful tool.

Keep Things In The Moment

This constant stream of thoughts that has the tendency to lead us into worrying about the future, and what may or may not happen, eventually brings on feelings of fear and anxiety. Although it is important to think ahead and plan for future contingencies, if we are living in the past or the future we are ignoring the present, and this is potentially harmful. When we notice ourselves being yanked out of the moment by fear, we should become aware and use our reason to pull ourselves up short.

The goal is to get back into the current moment, which in reality is the only place anything can happen. Once we have learned to notice the situation where we are feeling anxious or stressed, we could use a little prepared phrase to get out of that loop, such as “FEAR is False Evidence Appearing Real”. A short prayer can work too, whether or not you are religious. What we should do is offer some kind of a small self-affirmation of our self-worth when we are feeling anxious, sad, or otherwise getting pulled out of the reality of the moment by troubling emotions.

One Good Turn Deserves Another

Have you ever seen a dog about to lie down? Sometimes they will turn around and around again in a circle, and keep turning for what seems a long time before finally plopping down on the ground. It seems as if the dog is repeating a behavior because it feels good knowing it worked in the past. When we see this we always say jokingly “one good turn deserves another”. It is just a silly saying, and can have different meanings, but my point is that there is comfort in repetition.

Don’t Compare Your Insides To Someone Else’s Outsides

Probably you have enjoyed many successes in your life, big and small. You have also likely suffered through mistakes and failures, also big and small. This is true of everyone, without exception. The worse thing you can do is to compare your insides with someone else’s outside. The only person you should make any comparisons to is yourself. A mistake people make is looking at others who are further along the road to success, and assuming that they will not have the same amount of success, or that success is not for them. Always remember that for anyone who is successful at doing anything, there was a time when they couldn’t do it.

Visualize Your Past Successes

When you are aware that you are experiencing performance anxiety, for whatever reason, you should reign in your thoughts and begin to control them, This is where the necessary techniques, time and practice come in to play that I mentioned previously. As soon as you are aware, and after bringing yourself up short, the next step to this process is to think about similar situations from the past that you have faced, and came through successfully. Try to recall that you were also nervous then, but everything ultimately turned out okay, or better than okay.

For example, if I am playing a concert for a group of people and I’m nervous whether they will like it, I call to mind a time, usually fairly recent, that I gave a performance and the audience loved it! Remembering that specific previous success makes it a bit easier to walk out in front of a new crowd, and give it my all with some certainty that they will like what I do. Mike Ditka, the Super Bowl winning NFL coach once famously said that the first step in winning was to believe that you are worthy. So, all ingrained and automatically expressed vestiges of the mentality of “I’m not good enough” must be balanced with thoughts about the possibility or likelihood of success. Successful people seem to be good at combating self-doubt.

What Goes Around Comes Around

Humans seem to be conditioned to living in groups, for whatever reason. We are predisposed to working in teams. When your success is crucial to the success of the team, it becomes all the more important not to allow performance anxiety to get in the way. Most people have similar feelings and experiences as they go through life, and everyone is human. Make sure to encourage success in your teammates, and look for ways to help them succeed with their own challenges. They will value you more as a team member for this, and rush to your aid when they see you are similarly struggling. When you help someone else succeed, the universe tends to find ways to repay you for your kindness.

Law Of Attraction

There are many that believe we tend to attract to ourselves what we focus on. If we focus on our fear and anxiety, it is likely to increase. One thing that can work well is to focus your thoughts elsewhere by using visualization techniques. When you feel the anxiety coming on, you could create a mental picture of the upcoming performance being completed. Look at your watch and tell yourself that it will all be over by the time the hands of the clock have moved a certain distance.

You could also picture a peaceful scene from your childhood, a lovely beach or park you enjoy frequenting, a favorite pet, or the face of a loved one. It is recommended to take a few deep breaths, exhale completely, stretch lightly, or move around a bit while you visualize, to help the nervous energy to dissipate. Alternatively, you could sit quietly with your eyes closed for a minute while focusing your thoughts elsewhere.

Don’t Take Yourself Too Seriously

A wise friend once told me: “Don’t take yourself too seriously, no one else does.” A favorite aunt use to say: “Who will care in 100 years from now?” These comments are reminders that usually our mistakes are more noticeable to ourselves than to others. And in the worse case scenarios, like a figure skater after a fall, we will pick ourselves up, brush ourselves off, and continue moving forward in our lives.

Success Is Peace Of Mind

John Wooden, the late famous college basketball coach, talked about success being the peace of mind that comes from the satisfaction of knowing that we did our best to be our best, under the circumstances. Looking back at previous mistakes, we can ask ourselves if we were doing our best. The answer will always be “yes”, because we know in our heart that if we could have done better, we would have. Mistakes are a necessary part of growth because they teach us what not to do.

It helps to remember that we are actually where we are because of decisions we made. We came to this point as a result of doing what we wanted to do. Why should we let a little normal anxiety or tension get in the way? We are learning to harness the energy and turn it around for a positive outcome.

Don’t Be Fooled By Randomness

People often tend to ascribe their failure or success to their own efforts more than reality warrants. There is always a randomness factor, and even if we do all the right things, we can fail. Conversely, even if we don’t do the right things, we can have success. The ancient wisdom texts of the Upanishads tell us that we do not control the results of our actions. All we can control is our thoughts, feelings, and actions.

Lastly, never forget that your self-worth is not attached to your achievements, or lack thereof. Failing at something does not make you a bad person, and success doesn’t guarantee you anything, either. Use the techniques I’ve outlined to combat your performance anxiety next time you are facing a difficult or demanding task.

Tom Stein is a visionary musical entrepreneur, music producer, artist development consultant, arranger, and performer on electric bass, voice and guitar. He teaches at Berklee College of Music in Boston and is the founder of Music Connectivity, a cultural diplomacy firm. www.tomstein.com

For more information on the 12th Annual IAMA (International Acoustic Music Awards), please go to: http://www.inacoustic.com


Top 7 Essentials For Setting Up a Home Recording Studio


Top 7 Essentials For Setting Up a Home Recording Studio

by Jessica Brandon & Jake Weston

How to set up a Home Recording Studio on a budget

How to set up a Home Recording Studio on a budget

Are you a musician looking to record at home on a budget? You will need recording equipment. What type of music gear you will need to get started will vary based on the type of recording you plan to do from home. For example, if you only plan to record demos and rough tracks, you will need less equipment than if you were trying to record radio ready tracks. Another thought is how much you plan to record at one time, one or two tracks and adding vocals in layers requires less equipment than if you plan to do more than two tracks or recording a full band.

  1. Computer

The computer is the biggest expenditure by far and most important thing you will need. If you are a Mac user, and you are on a budget, go with a Mac Mini or Macbook Pro. If you are a PC user and you are on a budget, go with an HP computer.

  1. DAW/Audio Interface Combination

The DAW (Digital Audio Workstation) is the software used to record, edit, and mix music on your computer. The Audio Interface is the hardware used to connect your computer with the rest of your music gear. Presonus Studio One is a entry-level budget recommended gear. Other budget conscious interface include: Avid Fast Track or Focusrite Scarlett 2i2 (around $200).

Most computers nowadays come with some basic form of recording software, but that isn’t going to be quite enough for those wishing to make some money from recording. Rather than spending money on professional recording software many professionals use Audacity, which is available to download for free. Audacity has an amazing array of features and capabilities for the price, which, as I mentioned in case you missed it, is FREE. I would also suggest adding a program called Reaper for $60 (unless and until you start making 10-20 thousand clams a year using it. Then you are asked to spring for the commercial license for $220).

  1. Microphone (or microphones)
Lewitt Microphone

Lewitt Microphone

To start out – especially if you have a very small budget – I recommend the Shure SM57, which you may buy for just $99.00. I would recommend the Lewitt USB microphone if you have a higher budget. Again, if you’re planning to record a band, you’ll need more mics and a larger interface capable of recording several sources at once.

  1. Headphones

In the very beginning, all you really need is one. For beginners on a tight budget, there’s no safer bet than the AKG K240.

  1. Studio Monitors

For beginners on a tight budget, there’s no safer bet than the KRK Rokit 5 G3

If your mixing room is a bedroom, as it is for most home recordists, just know that what you hear is already mangled in several ways. You can improve that situation, if you have really good speakers, but it isn’t easy.

  1. XLR Cables

This is another thing you need for recording studio accessories – XLR Cable

One day, your studio will have a TONS of different cables…

But for now, you only need 3:

~1 long XLR cable for your mic, and…

~2 short ones for your monitors

  1. A Mic Stand

While many beginners assume that all mic stands are the same. The truth is that a solid mic stand is one of the most worthwhile investments a new home studio can make.


So, in order to outfit yourself with the basic home recording studio equipment, you’ll need the following:


~Digital Work Station (DAW) Software/Audio Interface Combo


~Studio Monitors

~One Set of Headphones

~A Few Cables

~One Mic Stand


No matter what equipment you purchase the most important thing to remember is that knowledge of the key audio fundamentals is far more useful than expensive equipment. If you lack basic knowledge you will always end up with poor sounding audio, no matter how expensive the equipment is. Remember this mantra: knowledge trumps gear. There are many people making crappy recordings every day with really expensive gear. But if you have some basic knowledge, you can make great recordings with very modest equipment. Therefore, never let an employee talk you into the most expensive equipment in the store, in most cases the $50 USB microphone will provide you with the professional sounding results.

For more information on the 12th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com


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