Lee has Just released his album "Essence of Time". He also teaches at a very high level. check out what he has to say about teaching.
How long have you been teaching guitar?
For about 16 years. I started when I was in grade 12. But it actually hasn’t been 16 years straight I have taken breaks from it from time to time.
Why do you teach guitar?
I love playing guitar: I am still obsessed with it. And because of that I just need to show others who have the same passion for it how play to! It is pretty awesome. Nothing’s as cool as seeing a student progress week to week.
Where is your teaching practice based?
I teach here in Calgary at Axe School of Music. It is a really great place to teach. They even have Rock Camps in the summers where we coach students in a band situation then they get to put on a concert. Everyone has an awesome time!
As far as teaching goes, what is your specialty?
Talking too much! Seriously, I talk my students ears off because I get pretty wired about guitar, like I said I am still obsessed. I guess my specialty would be shedding light on topics students might be confused about. Sometimes I explain things in ten different ways. I insist they ask tons of questions and we won’t let the subject go until it is perfectly clear.
What level of player do you prefer to teach?
For me it isn’t about what level. As long as they are there because they want to be, not because someone makes them go. Nothing can drain your energy more than pushing through lessons week to week with someone who isn’t interested. But it is pretty cool to teach players on the intermediate level on the edge of becoming an advanced players, that is when I get even more wound up and talk even more, it can get exciting.
What makes a player a virtuoso?
Well, I think a saying I heard from Tom Hess sums it up pretty well: An average player practices to get it right, but a Virtuoso practices to never get it wrong. There is a big difference! I also see it as someone with no technical limitations on their playing and composing, whether it is a simple piece of music or extremely challenging, they can play it at the highest level. Most people attach speed with virtuosity, which is very often the case, but even when a Virtuoso plays something slow or simple, there is still a certain command of the instrument evident in their playing.
How fast is too fast, if such a concept exists?
When you start sounding sloppy, it is too fast! But I personally don’t think there is a limit, I mean what is fast to me might not be fast to the next guy. Everyone has their own limits on their abilities. I guess as long as the passage being played at mach 8 isn’t taking away from the song but is adding to what is being portrayed in the composition then it works. Though I have heard players who just sound like they are just wanking over a riff aimlessly, I believe notes and licks should be consciously chosen not just ripping up and down scales shapes because you know they are in the right key.
From a Teacher’s point of view, what is the number one roadblock to becoming a better player?
Looking for a short cut around practicing! I personally don’t have a button I push to make them great.
What makes a good student? Describe the student who progresses really quickly?
Someone who asks lots of questions and has decided before they come to me that they will achieve their goals! Sounds simple, but I really believe it.
Do you find that older or younger students progress faster/learn quicker?
From my personal experience I found that students in their early teens seem to be the ones that make the fastest progress. Young kids can lack the discipline to sit and practice and adults have many other responsibilities to tend to apart from practicing. Again that is just what I have noticed.
What is your teaching format?
I insist that all students know the essentials like chords, scales, intervals, and at least basic theory. After that I start personalizing the lessons for their specific goals. Not everyone wants to be a wanker like me.
What models of learning benefit the student the most?
I don’t know that I have any specific models that work all the time, but simply explaining that in the end it is up to them. Either they want to learn and get better or they don’t, and if they do then I am there to facilitate that. However, it can also depend on what the student goals are. I just really try hard to connect with them.
Is there one piece of advice that you can give the readers to improve their playing right now?
Don’t settle for second, push yourself and don’t let it go until you have mastered whatever concept it is that is causing you problems. And that means knowing what it is you are aiming for, whether it is to be a Virtuoso or not.
How can prospective students contact you for lessons?
They can go to www.axemusic.com and either email or just call.
Showing posts with label shredder. Show all posts
Showing posts with label shredder. Show all posts
Thursday, March 26, 2009
Saturday, March 21, 2009
Paul Kleff Interview - Great advice and passion for guitar.
We reviewed Paul's shred filled album "Machined" late last year, and now he's back to tell us about his passion for guitar and share some secrets about forging a career in music.
What steps have you taken to forge a career in the music industry?
I had to ask myself, “What is it I really want to do?” I think one needs to have some pretty specific goals to start with, and then you can work backwards to fill in the steps with the things you need to do in order to reach those goals. There is so much I want to do—both from an artist/composer/guitarist perspective and as a music teacher/guitar instructor.
What advice do you have for people looking to get into the music industry?
Don’t be afraid to ask for help from people that have been there—and don’t take advice from people that aren’t qualified to give it. And be willing to pay for the best advice and help. Once you have some goals and have a good idea of what you want, find the people that can help you figure out how to get there—people that have already done what you want to do.
Look at your goals often and be persistent. Do something every day that helps you get closer to reaching them. The combination of time and taking small steps on a regular basis is what will get you there—both as a guitar player and in your music career.
What are the pressures in the industry and how do you cope with them?
I think the biggest pressures are the ones we put on ourselves. You have to be able to find that motivation within and find ways to keep it going on a day to day basis. There are so many great musicians out there.
During your formative years, what sort of practice regime did you have?
I got serious about guitar when I was in high school—when I was about 15 or so. I practiced and jammed with friends a lot and picked people’s brains for information. So most of my early years were spent learning songs and parts of songs and solos. Most of the time, I tried to emulate the feel and phrasing of the guitar players I liked. I was never really good at totally copying solos and playing stuff note for note.
I learned some theory and scales from books and tried to apply it—stuff like the modes and different scales. I studied music and majored in classical guitar in college and that was where I formally learned a lot about music theory. I never took lessons on the electric guitar back then and I’m sure that held up my progress a lot. So much of what I did on the guitar was a trial and error kind of thing.
So I practiced and jammed with other people a lot the first couple years. I started teaching guitar about four years after I started playing. When I was in college, I was pretty much immersed in music—between school, teaching and playing in local bands. Music was all I did then—and that was when I made a lot of progress as a musician.
What advice do you have for beginner and intermediate players who are trying to achieve a highly advanced level of playing?
Figure out what it is you want to be able to do and then find someone who can help you get there. Don’t be too proud or whatever to take lessons—find the guitar teacher in your area that can do what it is you want to be able to do and take some lessons—that will save you a lot of time and eliminate the time wasting “trial and error” effort. There’s so much info out there on the internet, some of its good and some is not so good. Find someone who can help you learn to do what you want to do.
If you’re a beginner, you can start off right, get a good foundation and advance much more quickly. No matter what style of guitar you want to play, whether you want to shred or just learn to strum some chords and play songs, you can learn what you need in order to be able to do what you want to do and not waste time on things that aren’t going to help you.
For an intermediate player, a teacher can help you refine things and show you ways to improve much more quickly than if you stumble around looking for the solutions on your own. Sometimes very small adjustments or changes to your technique or the way you are doing something can give you big results or a breakthrough in a relatively short amount of time. This is where a good teacher is most helpful. You can learn a lot from books, videos and the internet, but there’s no substitute for what you get from a good teacher—they are going to help you the most. They will be able see and hear things in your playing and how you are doing things that you won’t be able to see and show you how to improve the fastest. You might struggle with something for weeks on your own that can be fixed in the course of one lesson—it’s definitely worth it.
Like I said, I didn’t take lessons at first and ended up having to “unlearn” some things that were holding me back as I went along. If I could do it all over again, I would have taken lessons from the best teacher I could right from the beginning.
What gear do you use and why?
I’m not all that picky, really. I’ve played everything from Gibson to Kramer to Ibanez to Carvin over the years. But, I’ve played the Strat-style body guitars for so long now that it feels really weird to play a Les Paul or something like that. My two main guitars are a Carvin DC127 and an Ibanez PGM 301. Between those two, I get the best of everything. The Carvin has a Floyd Rose and the Ibanez is a hard tail.
What parts of your playing reflects your personality and self expression most accurately?
I was influenced and inspired by so many different guitar players and bands so there are a lot of sides to my musical personality and self-expression that I try to get out. To me, a guitar solo is more like a mini-composition within the song and I try to approach it like that, rather than just trying to string some licks or technical stuff together and calling it good. Technical skills are really just a way to add more expression to your playing—the more things you can do on the guitar, the more ways you can express yourself—you’re not as limited.
Vibrato is really important to me. I love players that have that wide, singing vibrato. Most people, when they start playing guitar, they get so hung up on trying to shred, sweep pick, etc., that they forget about vibrato and how important it is to developing your own sound. People listen to players like Yngwie or Paul Gilbert and get so hung up on learning all the technique involved in the styles of guys like that, that they forget that these guys have absolutely killer vibrato. You don’t hear that mentioned that much—listen to Yngwie’s vibrato. Man—it just sings and it’s just as important to his sound as all the technical stuff in there. George Lynch, John Sykes and guys like that—great players and great vibrato, too—smooth.
What are you trying to achieve compositionally? – You can mention your influences, techniques you’ve spent a lot of time with, concepts, etc.
I’m really a huge music fan and have been influenced by so many artists—everything from the Beatles and Led Zeppelin up to newer metal stuff coming out today. When I started playing, I was really into the 80s style and all of those players—everything from the NWOBHM, the LA bands and guitarists as well as all the shred stuff that exploded during that time period.
So, compositionally, I was really influenced by songs that have a great melody and usually some sort of a hook in there. Whether it is an instrumental or a vocal tune, having a hook and a melody that sticks with you has always been an influence on me and I think that comes out in both my songwriting style and approach to soloing.
Talk about the process of recording your album. Are there any tips and tricks that you could pass on? How did you choose the other instrumentalists (if you did).
“Machined” was written and recorded over about a two month period in the summer of 2008. I was getting ready to go on a tour doing some guitar instructional clinics and wanted to have a CD to be able to take out with me and promote. So it came together pretty quick. When I started working on the album, I was debating whether I wanted to go instrumental guitar-oriented music or a vocal melodic/heavy rock format. So I compromised and did two songs of each.
Technology and amp modelers really make it easier to get a half way decent sound for writing and recording and with the computer you can do so much on your own now. So many people do albums right in their home studios today. Having that flexibility really allows you the time to write and record your own material at a relatively low cost. You don’t have to worry about the studio meter running and you can record at 3 in the morning without waking anybody up.
Right now, the band is myself and my good friend Jerry Keyzer (vocalist.) We've known each other a long time--we played a lot of shows together and did some recording with one of our old bands in the past. Even though we live in the same city, we lost track of each other for awhile and then reconnected. We've known each other for so long we've almost got a sixth sense musically when we work together. Our musical tastes run similar and we complement each other well.
We are currently writing and demoing material for a full length CD which will be out by fall 2009. I plan on adding a drummer and bassist later this year and then some live shows will follow—probably by some time early in 2010.
Thanks, Guy!
http://www.paulkleffmusic.com/
What steps have you taken to forge a career in the music industry?
I had to ask myself, “What is it I really want to do?” I think one needs to have some pretty specific goals to start with, and then you can work backwards to fill in the steps with the things you need to do in order to reach those goals. There is so much I want to do—both from an artist/composer/guitarist perspective and as a music teacher/guitar instructor.
What advice do you have for people looking to get into the music industry?
Don’t be afraid to ask for help from people that have been there—and don’t take advice from people that aren’t qualified to give it. And be willing to pay for the best advice and help. Once you have some goals and have a good idea of what you want, find the people that can help you figure out how to get there—people that have already done what you want to do.
Look at your goals often and be persistent. Do something every day that helps you get closer to reaching them. The combination of time and taking small steps on a regular basis is what will get you there—both as a guitar player and in your music career.
What are the pressures in the industry and how do you cope with them?
I think the biggest pressures are the ones we put on ourselves. You have to be able to find that motivation within and find ways to keep it going on a day to day basis. There are so many great musicians out there.
During your formative years, what sort of practice regime did you have?
I got serious about guitar when I was in high school—when I was about 15 or so. I practiced and jammed with friends a lot and picked people’s brains for information. So most of my early years were spent learning songs and parts of songs and solos. Most of the time, I tried to emulate the feel and phrasing of the guitar players I liked. I was never really good at totally copying solos and playing stuff note for note.
I learned some theory and scales from books and tried to apply it—stuff like the modes and different scales. I studied music and majored in classical guitar in college and that was where I formally learned a lot about music theory. I never took lessons on the electric guitar back then and I’m sure that held up my progress a lot. So much of what I did on the guitar was a trial and error kind of thing.
So I practiced and jammed with other people a lot the first couple years. I started teaching guitar about four years after I started playing. When I was in college, I was pretty much immersed in music—between school, teaching and playing in local bands. Music was all I did then—and that was when I made a lot of progress as a musician.
What advice do you have for beginner and intermediate players who are trying to achieve a highly advanced level of playing?
Figure out what it is you want to be able to do and then find someone who can help you get there. Don’t be too proud or whatever to take lessons—find the guitar teacher in your area that can do what it is you want to be able to do and take some lessons—that will save you a lot of time and eliminate the time wasting “trial and error” effort. There’s so much info out there on the internet, some of its good and some is not so good. Find someone who can help you learn to do what you want to do.
If you’re a beginner, you can start off right, get a good foundation and advance much more quickly. No matter what style of guitar you want to play, whether you want to shred or just learn to strum some chords and play songs, you can learn what you need in order to be able to do what you want to do and not waste time on things that aren’t going to help you.
For an intermediate player, a teacher can help you refine things and show you ways to improve much more quickly than if you stumble around looking for the solutions on your own. Sometimes very small adjustments or changes to your technique or the way you are doing something can give you big results or a breakthrough in a relatively short amount of time. This is where a good teacher is most helpful. You can learn a lot from books, videos and the internet, but there’s no substitute for what you get from a good teacher—they are going to help you the most. They will be able see and hear things in your playing and how you are doing things that you won’t be able to see and show you how to improve the fastest. You might struggle with something for weeks on your own that can be fixed in the course of one lesson—it’s definitely worth it.
Like I said, I didn’t take lessons at first and ended up having to “unlearn” some things that were holding me back as I went along. If I could do it all over again, I would have taken lessons from the best teacher I could right from the beginning.
What gear do you use and why?
I’m not all that picky, really. I’ve played everything from Gibson to Kramer to Ibanez to Carvin over the years. But, I’ve played the Strat-style body guitars for so long now that it feels really weird to play a Les Paul or something like that. My two main guitars are a Carvin DC127 and an Ibanez PGM 301. Between those two, I get the best of everything. The Carvin has a Floyd Rose and the Ibanez is a hard tail.
What parts of your playing reflects your personality and self expression most accurately?
I was influenced and inspired by so many different guitar players and bands so there are a lot of sides to my musical personality and self-expression that I try to get out. To me, a guitar solo is more like a mini-composition within the song and I try to approach it like that, rather than just trying to string some licks or technical stuff together and calling it good. Technical skills are really just a way to add more expression to your playing—the more things you can do on the guitar, the more ways you can express yourself—you’re not as limited.
Vibrato is really important to me. I love players that have that wide, singing vibrato. Most people, when they start playing guitar, they get so hung up on trying to shred, sweep pick, etc., that they forget about vibrato and how important it is to developing your own sound. People listen to players like Yngwie or Paul Gilbert and get so hung up on learning all the technique involved in the styles of guys like that, that they forget that these guys have absolutely killer vibrato. You don’t hear that mentioned that much—listen to Yngwie’s vibrato. Man—it just sings and it’s just as important to his sound as all the technical stuff in there. George Lynch, John Sykes and guys like that—great players and great vibrato, too—smooth.
What are you trying to achieve compositionally? – You can mention your influences, techniques you’ve spent a lot of time with, concepts, etc.
I’m really a huge music fan and have been influenced by so many artists—everything from the Beatles and Led Zeppelin up to newer metal stuff coming out today. When I started playing, I was really into the 80s style and all of those players—everything from the NWOBHM, the LA bands and guitarists as well as all the shred stuff that exploded during that time period.
So, compositionally, I was really influenced by songs that have a great melody and usually some sort of a hook in there. Whether it is an instrumental or a vocal tune, having a hook and a melody that sticks with you has always been an influence on me and I think that comes out in both my songwriting style and approach to soloing.
Talk about the process of recording your album. Are there any tips and tricks that you could pass on? How did you choose the other instrumentalists (if you did).
“Machined” was written and recorded over about a two month period in the summer of 2008. I was getting ready to go on a tour doing some guitar instructional clinics and wanted to have a CD to be able to take out with me and promote. So it came together pretty quick. When I started working on the album, I was debating whether I wanted to go instrumental guitar-oriented music or a vocal melodic/heavy rock format. So I compromised and did two songs of each.
Technology and amp modelers really make it easier to get a half way decent sound for writing and recording and with the computer you can do so much on your own now. So many people do albums right in their home studios today. Having that flexibility really allows you the time to write and record your own material at a relatively low cost. You don’t have to worry about the studio meter running and you can record at 3 in the morning without waking anybody up.
Right now, the band is myself and my good friend Jerry Keyzer (vocalist.) We've known each other a long time--we played a lot of shows together and did some recording with one of our old bands in the past. Even though we live in the same city, we lost track of each other for awhile and then reconnected. We've known each other for so long we've almost got a sixth sense musically when we work together. Our musical tastes run similar and we complement each other well.
We are currently writing and demoing material for a full length CD which will be out by fall 2009. I plan on adding a drummer and bassist later this year and then some live shows will follow—probably by some time early in 2010.
Thanks, Guy!
http://www.paulkleffmusic.com/
Tuesday, September 9, 2008
Album Review - Paul Kleff "Machined"
Paul Kleff is a rock/metal guitarist based in Grand Rapids, Michigan, USA, and has over 20 years of experience as a musician, instructor, composer and performer. He was originally inspired by artists like Led Zeppelin, The Beatles, Jimi Hendrix and The Who, which got him started on acoustic guitar, learning some chords, songs and the basics of guitar playing.
Paul was soon drawn to the fire, expression and speed of artists like Edward Van Halen, Randy Rhoads, George Lynch and Yngwie Malmsteen. He then set out to learn the styles of his heroes and began practicing and developing a lead guitar style based on both blues-influenced rock and the neoclassical shred styles of his newer influences.
Paul was featured on the 2008 compilation CD, “Guitars from the Shadows,” along with 12 other musicians from all over the world.
In mid September 2008, Paul will be participating in a seven city instructional clinic tour through the Midwest USA, along with six other guitarists and international touring and recording artist Tom Hess. The clinics will be held at Guitar Center and local music stores in each city.
Paul teaches private lessons at his studio in Grand Rapids. Having successfully helped hundreds of students, he continues to develop specialized programs of study for each individual student based directly on their musical goals. Paul has also featured as an instructor on cyberfret.com and shredknowledge.com, and will be featured on additional guitar instructional websites in the future. He is also developing new instructional products set to be released in late 2008. A full-length CD is also planned for release in 2009.
Paul’s debut solo release is a four-song EP called “Machined”. It was written during late spring and summer 2008 and recorded during July 2008. The CD is made up of two instrumental songs and two songs featuring guest vocalist Jerry Keyzer.
Paul was soon drawn to the fire, expression and speed of artists like Edward Van Halen, Randy Rhoads, George Lynch and Yngwie Malmsteen. He then set out to learn the styles of his heroes and began practicing and developing a lead guitar style based on both blues-influenced rock and the neoclassical shred styles of his newer influences.
Paul was featured on the 2008 compilation CD, “Guitars from the Shadows,” along with 12 other musicians from all over the world.
In mid September 2008, Paul will be participating in a seven city instructional clinic tour through the Midwest USA, along with six other guitarists and international touring and recording artist Tom Hess. The clinics will be held at Guitar Center and local music stores in each city.
Paul teaches private lessons at his studio in Grand Rapids. Having successfully helped hundreds of students, he continues to develop specialized programs of study for each individual student based directly on their musical goals. Paul has also featured as an instructor on cyberfret.com and shredknowledge.com, and will be featured on additional guitar instructional websites in the future. He is also developing new instructional products set to be released in late 2008. A full-length CD is also planned for release in 2009.
Paul’s debut solo release is a four-song EP called “Machined”. It was written during late spring and summer 2008 and recorded during July 2008. The CD is made up of two instrumental songs and two songs featuring guest vocalist Jerry Keyzer.
The songs cover elements of rock, metal and shred. All the tracks are melodic, but what I find most pleasing is Paul’s ability do drop an unexpected twist into his riffs and leads.
All music was composed and performed by Paul and all lyrics were written and performed by Jerry Keyzer. The CD was mastered by Rob Perez.
Looking at the individual tracks:
The first track, “Grind”, has one of the best verse riffs I’ve ever heard. Heavy, driving, and mean, with some trademark Kleff twists. The solos are great compositions in their own right and, while showcasing Paul’s awesome chops, they remain fresh and melodic. “Grind” is a great opener to the CD.
Track two, “Last Stand”, is the first of two vocal tracks featuring vocals by Jerry Keyzer. I hear a lot of Iron Maiden and old Queensryche in both the vocals and guitars in the chorus section. The solo is great and fits the song well, as opposed to being a gratuitous flash of skill, and it remains tasteful and nothing sounds forced.
The third track, “Dead Line”, is the second vocal track. Building from just a clean guitar and vocals, it morphs into a mid-tempo metal anthem, bridging the gap between an air punching epic and a metal ballad. Keyzer’s delivery is powerful, emotional and raw. The fast linier runs, pedal-point ideas and swept arpeggios, combined with Paul’s excellent vibrato create another melodic mini-composition for the solo section.
The opening guitar phrase to the fourth track (and second instrumental) “As If…”, is so cool I immediately picked up my own guitar and learnt it. It floats over a piano-based rhythm section which eases off as the lead guitar builds for the chorus. The melody over the opening and verse sections has a vocal-like quality in both the tone and phrasing. The bridge and outro section show a great use of vibrato and harmonized lines to express a great deal of emotion. The song is essentially a hard-rock ballad and it ends the CD off well.
As a whole, the production is clear and balanced, while Paul’s melodic sensibility is fresh and often unexpected. I can’t wait for a full album.
All music was composed and performed by Paul and all lyrics were written and performed by Jerry Keyzer. The CD was mastered by Rob Perez.
Looking at the individual tracks:
The first track, “Grind”, has one of the best verse riffs I’ve ever heard. Heavy, driving, and mean, with some trademark Kleff twists. The solos are great compositions in their own right and, while showcasing Paul’s awesome chops, they remain fresh and melodic. “Grind” is a great opener to the CD.
Track two, “Last Stand”, is the first of two vocal tracks featuring vocals by Jerry Keyzer. I hear a lot of Iron Maiden and old Queensryche in both the vocals and guitars in the chorus section. The solo is great and fits the song well, as opposed to being a gratuitous flash of skill, and it remains tasteful and nothing sounds forced.
The third track, “Dead Line”, is the second vocal track. Building from just a clean guitar and vocals, it morphs into a mid-tempo metal anthem, bridging the gap between an air punching epic and a metal ballad. Keyzer’s delivery is powerful, emotional and raw. The fast linier runs, pedal-point ideas and swept arpeggios, combined with Paul’s excellent vibrato create another melodic mini-composition for the solo section.
The opening guitar phrase to the fourth track (and second instrumental) “As If…”, is so cool I immediately picked up my own guitar and learnt it. It floats over a piano-based rhythm section which eases off as the lead guitar builds for the chorus. The melody over the opening and verse sections has a vocal-like quality in both the tone and phrasing. The bridge and outro section show a great use of vibrato and harmonized lines to express a great deal of emotion. The song is essentially a hard-rock ballad and it ends the CD off well.
As a whole, the production is clear and balanced, while Paul’s melodic sensibility is fresh and often unexpected. I can’t wait for a full album.
Monday, January 14, 2008
Roo interview - The Frenchman talks about the 66 Licks programme
How did you come up with the concept for your 66 Licks lesson
programme?
Well, the whole concept isn’t from me but from Ben (Perchard). He asked me if I was interested in recording 66 guitar licks for him and being paid for that, of course.
I thought it would be a kind of sample licks CD. It sounded very easy to do at the beginning. I sent a rough 4 lick demo and he liked it.
It was about recording very short licks, about 2 seconds long, one lick per bar. That was the first challenge, because it’s not that easy to play something interesting that only lasts 2 seconds. The weeks passed and the idea of including them into a program came.
It was about 3 different levels, from very easy to pretty challenging. I sent back a few samples but my licks were too difficult. Then came the idea of licks combos. I was asked to record 12 different examples to demonstrate them in a "live" situation. So I realised that I would have to do everything in the same key, making part of the previous work useless.
The concept was now to have 66 licks of 3 levels, that would fit in any order, to build little solos. The 12 examples had to be recorded "live" (no copy/paste) and the licks had to flow together. That was actually the biggest challenge we had between Ben, the programmer and me.
The program had a glitch, leaving a small gap at the beginning of each lick, so they didn’t flow properly. It took time to solve this problem and the fact that I added a metronome click into the licks helped to check the time accuracy.
I also had to re-record some of the licks that were cutting abruptly. Some lick chains sounded great in a certain order but sucked running in a different order. So I had to work on having the licks fading at the right time and removing the "bad licks".
When I finally played the finished program, with the tablature appearing in perfect time with the lick combos, playing in any order, that was a great feeling. I felt "It's alive! Alive". The concept of 66 Licks lesson programme was born. Ben really did a great job.
How is 66 Licks different to the average guitar magazine or
guitar video lesson?
I'd say 66 licks is a “Tool” which includes musical material, so it's a new concept.
It's an enhanced vocabulary of licks, phrases and ideas to incorporate into your own playing, song writing and improvisation. You increase your ability to construct your own solos from the licks provided and perfect or learn new techniques. The program comes with backing tracks so that you can jam with what you've learned. It's also very easy and fun to use. It is definitely interactive. I can not compare this to a stock standard magazine or video lessons.
Will there be an upgrade or maybe a version 2 for the 66 Licks?
Yes, I have a volume 2 in progress and as you know there are other Shred Academy artists working on their own version. The program will receive plenty of regular and cool updates to make its use even more enjoyable. So it's constantly evolving. Joe Stump's 66 licks will be out soon, I heard a preview, it's absolutely killer material! I ran through a few licks, it was so awesome that I instinctively picked up my guitar to try them out.
What does a normal/average day in your life entail?
The winter, I go to the lake, make a hole in the ice and fish till dusk, hehe. Well, life is always in motion so I can't tell what a normal day for me is. I wish I could do more physical activities and get rid of all the boring daily duties...
Is Finland turning you into a blackmetal fan?
Hehe, yes indeed! Finland is a kind of promised land for metal lovers and there are countless bands here who have international success, especially those from Spinefarm records...
Sure I see the other styles aren't as popular, but as far as the material and the musicians go, they are good. I don't really think "is it BlackMetal or something". When you gig, it just feels great to perform before a lot of metal fans who express their enthusiasm.
What is it like living in Finland as a Frenchman?
Oh God! Haha, they forbid me to eat frogs and garlic snails! I was forced to eat reindeer and moose instead! Hehe, they’re gonna trash me now... Seriously, I'd say Finland is worth the trip!
It's a very modern country, but with strong traditions. People might talk less but things are done more efficiently somehow. Women are more respected here. There are actually a lot of female bands, more than what I figured before.
I like the Finnish way of life very much. Sure, sometimes I am surprised by some culture difference, but I learn how to behave from my experiences... I have a bunch of funny anecdotes. For instance, as we talk about music now: In a musical instrument shop, you can try instruments without asking the salesman. You are being too polite if you ask or else it means you're somehow interested in buying... In France, you can't come in, say nothing, and plug a limited Les Paul in a Mesa, hehe, otherwise it's a lack of respect for the salesman ( "S'il vous plait monsieur")...I even test drove a car alone, the salesman left me the keys.
That's it. Thanks for the interview.
http://wwww.rooguitar.com
http://wwww.myspace.com/rooguitar
http://wwww.youtube.com/rooguitar
programme?
Well, the whole concept isn’t from me but from Ben (Perchard). He asked me if I was interested in recording 66 guitar licks for him and being paid for that, of course.
I thought it would be a kind of sample licks CD. It sounded very easy to do at the beginning. I sent a rough 4 lick demo and he liked it.
It was about recording very short licks, about 2 seconds long, one lick per bar. That was the first challenge, because it’s not that easy to play something interesting that only lasts 2 seconds. The weeks passed and the idea of including them into a program came.
It was about 3 different levels, from very easy to pretty challenging. I sent back a few samples but my licks were too difficult. Then came the idea of licks combos. I was asked to record 12 different examples to demonstrate them in a "live" situation. So I realised that I would have to do everything in the same key, making part of the previous work useless.
The concept was now to have 66 licks of 3 levels, that would fit in any order, to build little solos. The 12 examples had to be recorded "live" (no copy/paste) and the licks had to flow together. That was actually the biggest challenge we had between Ben, the programmer and me.
The program had a glitch, leaving a small gap at the beginning of each lick, so they didn’t flow properly. It took time to solve this problem and the fact that I added a metronome click into the licks helped to check the time accuracy.
I also had to re-record some of the licks that were cutting abruptly. Some lick chains sounded great in a certain order but sucked running in a different order. So I had to work on having the licks fading at the right time and removing the "bad licks".
When I finally played the finished program, with the tablature appearing in perfect time with the lick combos, playing in any order, that was a great feeling. I felt "It's alive! Alive". The concept of 66 Licks lesson programme was born. Ben really did a great job.
How is 66 Licks different to the average guitar magazine or
guitar video lesson?
I'd say 66 licks is a “Tool” which includes musical material, so it's a new concept.
It's an enhanced vocabulary of licks, phrases and ideas to incorporate into your own playing, song writing and improvisation. You increase your ability to construct your own solos from the licks provided and perfect or learn new techniques. The program comes with backing tracks so that you can jam with what you've learned. It's also very easy and fun to use. It is definitely interactive. I can not compare this to a stock standard magazine or video lessons.
Will there be an upgrade or maybe a version 2 for the 66 Licks?
Yes, I have a volume 2 in progress and as you know there are other Shred Academy artists working on their own version. The program will receive plenty of regular and cool updates to make its use even more enjoyable. So it's constantly evolving. Joe Stump's 66 licks will be out soon, I heard a preview, it's absolutely killer material! I ran through a few licks, it was so awesome that I instinctively picked up my guitar to try them out.
What does a normal/average day in your life entail?
The winter, I go to the lake, make a hole in the ice and fish till dusk, hehe. Well, life is always in motion so I can't tell what a normal day for me is. I wish I could do more physical activities and get rid of all the boring daily duties...
Is Finland turning you into a blackmetal fan?
Hehe, yes indeed! Finland is a kind of promised land for metal lovers and there are countless bands here who have international success, especially those from Spinefarm records...
Sure I see the other styles aren't as popular, but as far as the material and the musicians go, they are good. I don't really think "is it BlackMetal or something". When you gig, it just feels great to perform before a lot of metal fans who express their enthusiasm.
What is it like living in Finland as a Frenchman?
Oh God! Haha, they forbid me to eat frogs and garlic snails! I was forced to eat reindeer and moose instead! Hehe, they’re gonna trash me now... Seriously, I'd say Finland is worth the trip!
It's a very modern country, but with strong traditions. People might talk less but things are done more efficiently somehow. Women are more respected here. There are actually a lot of female bands, more than what I figured before.
I like the Finnish way of life very much. Sure, sometimes I am surprised by some culture difference, but I learn how to behave from my experiences... I have a bunch of funny anecdotes. For instance, as we talk about music now: In a musical instrument shop, you can try instruments without asking the salesman. You are being too polite if you ask or else it means you're somehow interested in buying... In France, you can't come in, say nothing, and plug a limited Les Paul in a Mesa, hehe, otherwise it's a lack of respect for the salesman ( "S'il vous plait monsieur")...I even test drove a car alone, the salesman left me the keys.
That's it. Thanks for the interview.
http://wwww.rooguitar.com
http://wwww.myspace.com/rooguitar
http://wwww.youtube.com/rooguitar
Tuesday, December 4, 2007
Album review - Katrina Johansson "Love Surrender Forgiveness"
Influenced by Gary Moore, Yngwie Malmsteen, Ritchie Blackmore, Joe Satriani, Michael Angelo Batio, Jimi Hendrix, Ty Tabor and Peter Lindgren, Katrina Johansson is back with a follow-up to her first EP, Guitarsongs Volume I (2005).
Produced by Mike Hoffmann, with additional recording and mixing at Studio One with Chris Djuricic, Katrina’s new EP, Love Surrender Forgiveness, shows an undeniable leap in composition and technique.
The first impression I had after listening to the first three of the four tracks, was how much self expression was conveyed and how personal each song sounded.
Katrina has garnered a lot of respect and become a female icon in the male dominated genres of shred and instrumental rock, and this new EP puts her in contention for the “new queen of shred” title.
The first track, “Scar Tissue”, starts with a big, foot-stomping riff and a very singable melody line. This track really shows off Katrina’s legato phrases and the outro solo has some amazing alternate picking.
The “eastern” feel of track two, “Bellydance”, has a very interesting melody (something to do with Katrina’s love of sweat inducing Indian food, maybe?). Look out for the nice build-up of tension before a very seductive break at around 2:24. This song got me thinking about Mesopotamia and pretty ladies behind coloured veils.
The title track, “Love Surrender Forgiveness”, is (to my ears at least) the most personal and reflective track. Katrina plays beautiful phrases throughout the song which keeps a very tender feel compared to the rest of the tracks on this hard rocking EP.
The remix of K-9 Lullaby showcases (for those who missed her first EP) Karina’s wonderful call and answer phrasing, with none other than the powerful Michael Angelo Batio on bass.
This new EP is definitely a step in the right direction for this vegetarian and Dean Guitars endorsee. Just one question: When will we see a full album?
Track listing:
1. Scar Tissue
2. Bellydance
3. Love Surrender Forgiveness
4. K-9 Lullaby
Line-up:
Katrina Johansson - Guitars
Wolfe - Drums
Mike Hoffmann - Bass, Slide Guitar, 12 String Guitar
Michael Angelo Batio - Bass (K-9 Lullaby)
Brad Rohrssen - Drums (K-9 Lullaby)
For more about Katrina visist www.katrinaguitar.com/
Produced by Mike Hoffmann, with additional recording and mixing at Studio One with Chris Djuricic, Katrina’s new EP, Love Surrender Forgiveness, shows an undeniable leap in composition and technique.
The first impression I had after listening to the first three of the four tracks, was how much self expression was conveyed and how personal each song sounded.
Katrina has garnered a lot of respect and become a female icon in the male dominated genres of shred and instrumental rock, and this new EP puts her in contention for the “new queen of shred” title.
The first track, “Scar Tissue”, starts with a big, foot-stomping riff and a very singable melody line. This track really shows off Katrina’s legato phrases and the outro solo has some amazing alternate picking.
The “eastern” feel of track two, “Bellydance”, has a very interesting melody (something to do with Katrina’s love of sweat inducing Indian food, maybe?). Look out for the nice build-up of tension before a very seductive break at around 2:24. This song got me thinking about Mesopotamia and pretty ladies behind coloured veils.
The title track, “Love Surrender Forgiveness”, is (to my ears at least) the most personal and reflective track. Katrina plays beautiful phrases throughout the song which keeps a very tender feel compared to the rest of the tracks on this hard rocking EP.
The remix of K-9 Lullaby showcases (for those who missed her first EP) Karina’s wonderful call and answer phrasing, with none other than the powerful Michael Angelo Batio on bass.
This new EP is definitely a step in the right direction for this vegetarian and Dean Guitars endorsee. Just one question: When will we see a full album?
Track listing:
1. Scar Tissue
2. Bellydance
3. Love Surrender Forgiveness
4. K-9 Lullaby
Line-up:
Katrina Johansson - Guitars
Wolfe - Drums
Mike Hoffmann - Bass, Slide Guitar, 12 String Guitar
Michael Angelo Batio - Bass (K-9 Lullaby)
Brad Rohrssen - Drums (K-9 Lullaby)
For more about Katrina visist www.katrinaguitar.com/
Thursday, October 25, 2007
Mike Philippov interview – One of the nicest guys in shred shares some secrets
Mike Philippov is a guitarist, instructor and music composer based in Indianapolis, playing in the neo-classical and progressive styles.
He began playing guitar when he was 14 and has had 2 years of formal classical training at the Jacob's School of Music at Indiana University. He also studied virtuoso guitar playing and music composition with world renowned virtuoso Tom Hess.
He has taught instructional guitar clinics as well as private guitar lessons.
Let’s see what keeps this shredder so insanely busy.
What steps have you taken to forge a career in the music industry?
Currently I am writing and recording music for two albums. The first one is my upcoming debut solo CD, "Reflections" and the second one is an album that I am writing together with a great metal player and songwriter, Dave Cardwell (www.cardwellmusic.com). Both albums will be all instrumental and will feature music in the neo-classical and progressive styles. I am also going to be playing on a Compilation CD, “Chronicles-City of Sound” to be released later in 2007. I also co-manage and run an instructional website: www.thenextstepguitar.com as well as teach guitar privately and through clinics. I am also involved in several partnership projects with Tom Hess. (www.tomhess.net)
As far as what I did to get started, one of the most important steps for me was to join Tom Hess' Music Careers Mentoring Program. The things that I've learned in that program redefined the way I approach my career in some huge ways and helped me get off the ground. Anyone interested in a music career must check this program out!
What advice do you have for people looking to get into the music industry?
Many musicians make the mistake of spending all of their time only polishing their musical skills, but completely neglect studying the music business. This is one reason why there are many musicians who are great musically but cannot make enough money with their skills. Of course, it is important to work on the musical skills, but studying music business is equally important for becoming a music pro. Nowadays it has become easier to search for resources and advice on music business. If you can find a successful musician to take lessons on music business from, that will be a very smart thing to do and will save you A LOT of time and frustration! Other than that, be determined, motivated and ready to work really hard for your success. But success will come if you work on it the right way.
What are the pressures in the industry and how do you cope with them?
One of the benefits of being an independent artist is that there are no pressures on me by anyone other than myself. This is good from a creative and artistic standpoint. However, the biggest obstacle for me right now is lack of time to do all that I want to accomplish. This is probably the one thing that all professional musicians have in common! It’s a great place to be though, being a professional musician sure beats any other kind of job!
During your formative years, what sort of practice regime did you have?
During high school I played and practiced 4-7 hours a day on most days. I was always highly organized in my practice, and would write out practice routines for myself every day and change things that were not bringing results. I also had the opportunity to study with some truly amazing teachers that helped me tremendously in getting my playing together. In 2003 I had a consultation on virtuoso guitar technique with Ney Mello, and in 2004 I started studying music composition, improvisation and virtuoso playing and music business with Tom Hess and he has been a tremendous sort of wisdom inspiration (musically and personally) on many levels. In 2005 I began attending Indiana University Jacobs School of Music to study music theory, ear training and music composition. I firmly believe in studying with the best teachers that you can find and practicing constantly. I was also always very motivated and passionate about everything to do with music and guitar. I believe that the above mentioned things (strong desire, great teachers and lots of practice) contributed the most to me developing my skills.
What advice do you have for beginner and intermediate players who are trying to achieve a highly advanced level of playing?
Find the best teacher(s) that you can and practice constantly! Surround yourself with the music that you love to keep your motivation and desire strong. Find out about proper practice methods and apply them every day to develop your technique. If you plan to write your own music and/or learn to improvise, then study music theory and develop your Aural Skills (ear training)! The more you practice the faster you will get to your goals, so make time for practicing something every day!
Who are your most significant musical influences?
I have many influences in various areas of music, so I can break them up in different areas of musicianship:
For composition: George Bellas, Tom Hess, Vitalij Kuprij, L.V. Beethoven, J.S. Bach, Ennio Morricone, Fryderyk Chopin, Dream Theater, Symphony X
For guitar technique: Rusty Cooley, Theodore Ziras, George Bellas, Paul Gilbert, Shawn Lane
For phrasing: Tom Hess, Andy Laroque, Mike Walsh, Vinnie Moore, Marty Friedman, Jason Becker.
There are many more, but this is my top list. All of the above players and musicians are incredible!
What gear do you use and (more importantly) why?
I love Ibanez guitars for their playability, tone and feel. I use an Ibanez RG 42. I like this model a lot because of the neck through body that allows great sustain. Sustain is a huge part of my sound and tone. I use Seymour Duncan Metal Live Wire Pick Ups for the same reason (they are the hottest pick ups around!). I like the tone and feel of D’addario strings (I use string gauge 0.10-0.46). The string action on my guitar is incredibly high, higher than that of any other guitarist I’ve ever met. I do this also for sustain. Also the string tension is pretty tight to fit my playing style and the strong pick attack that I like to use. As for amps, I like the sound of Peavey 6505, the rhythm tone on it is very heavy and tight! For my lead tone, I like the sound of the guitar recorded direct through a pre-amp and I do not use an amplifier or mic the guitar when recording lead.
Talk about the process of recording your album. Are there any tips and trick that you could pass on? How did you choose the other instrumentalists (if you did).
For recording, one of the most important things is to have your music ready to go! The other is to have some idea of the sound/tone you are going for before you start recording. Otherwise, you are going to spend a lot of money in studio costs (if you record at a studio) by changing things around to experiment with different sounds. The other option is to buy your own gear if you can afford it and learn to use it yourself (which can be frustrating at first but has its advantages over recording at someone else’s studio)About other instrumentalists, I worked with an awesome bass player from Milwaukee, Ben Kuzay to play bass on a tune that will be featured on the Chronicles-City of Sound compilation release. Ben is an awesome player technically and has a good sense of counterpoint and melody. Check out his myspace at: www.myspace.com/benkuzay
What parts of your playing reflect your personality and self expression most accurately?
Interesting question… I would say that my phrasing and harmonic ideas are pretty strong in reflecting my personality. However, this is a never ending process, as any self-expressive artist knows… I am always working on bridging the gap between all my musical skills and complete self-expression. The art of self-expression is one of the most important things I have learned from my friend and mentor Tom Hess during my years of lessons with him.
What are you trying to achieve compositionally?
As I alluded to above, self-expression and personal fulfillment are my two biggest musical goals. I am not interested in writing music for the whole world to like. I would rather write the music that fulfills me personally and artistically. I believe that if the music is truly expressive and creative in the artist’s own unique way, then there will always be enough people to like it for that music to get noticed.
If the readers want to get in touch with you, what is your website and e-mail address?
www.mikephilippov.comwww.thenextstepguitar.com My e-mail is: mike@mikephilippov.com
I always respond to e-mails, so don’t hesitate to write to me.
He began playing guitar when he was 14 and has had 2 years of formal classical training at the Jacob's School of Music at Indiana University. He also studied virtuoso guitar playing and music composition with world renowned virtuoso Tom Hess.
He has taught instructional guitar clinics as well as private guitar lessons.
Let’s see what keeps this shredder so insanely busy.
What steps have you taken to forge a career in the music industry?
Currently I am writing and recording music for two albums. The first one is my upcoming debut solo CD, "Reflections" and the second one is an album that I am writing together with a great metal player and songwriter, Dave Cardwell (www.cardwellmusic.com). Both albums will be all instrumental and will feature music in the neo-classical and progressive styles. I am also going to be playing on a Compilation CD, “Chronicles-City of Sound” to be released later in 2007. I also co-manage and run an instructional website: www.thenextstepguitar.com as well as teach guitar privately and through clinics. I am also involved in several partnership projects with Tom Hess. (www.tomhess.net)
As far as what I did to get started, one of the most important steps for me was to join Tom Hess' Music Careers Mentoring Program. The things that I've learned in that program redefined the way I approach my career in some huge ways and helped me get off the ground. Anyone interested in a music career must check this program out!
What advice do you have for people looking to get into the music industry?
Many musicians make the mistake of spending all of their time only polishing their musical skills, but completely neglect studying the music business. This is one reason why there are many musicians who are great musically but cannot make enough money with their skills. Of course, it is important to work on the musical skills, but studying music business is equally important for becoming a music pro. Nowadays it has become easier to search for resources and advice on music business. If you can find a successful musician to take lessons on music business from, that will be a very smart thing to do and will save you A LOT of time and frustration! Other than that, be determined, motivated and ready to work really hard for your success. But success will come if you work on it the right way.
What are the pressures in the industry and how do you cope with them?
One of the benefits of being an independent artist is that there are no pressures on me by anyone other than myself. This is good from a creative and artistic standpoint. However, the biggest obstacle for me right now is lack of time to do all that I want to accomplish. This is probably the one thing that all professional musicians have in common! It’s a great place to be though, being a professional musician sure beats any other kind of job!
During your formative years, what sort of practice regime did you have?
During high school I played and practiced 4-7 hours a day on most days. I was always highly organized in my practice, and would write out practice routines for myself every day and change things that were not bringing results. I also had the opportunity to study with some truly amazing teachers that helped me tremendously in getting my playing together. In 2003 I had a consultation on virtuoso guitar technique with Ney Mello, and in 2004 I started studying music composition, improvisation and virtuoso playing and music business with Tom Hess and he has been a tremendous sort of wisdom inspiration (musically and personally) on many levels. In 2005 I began attending Indiana University Jacobs School of Music to study music theory, ear training and music composition. I firmly believe in studying with the best teachers that you can find and practicing constantly. I was also always very motivated and passionate about everything to do with music and guitar. I believe that the above mentioned things (strong desire, great teachers and lots of practice) contributed the most to me developing my skills.
What advice do you have for beginner and intermediate players who are trying to achieve a highly advanced level of playing?
Find the best teacher(s) that you can and practice constantly! Surround yourself with the music that you love to keep your motivation and desire strong. Find out about proper practice methods and apply them every day to develop your technique. If you plan to write your own music and/or learn to improvise, then study music theory and develop your Aural Skills (ear training)! The more you practice the faster you will get to your goals, so make time for practicing something every day!
Who are your most significant musical influences?
I have many influences in various areas of music, so I can break them up in different areas of musicianship:
For composition: George Bellas, Tom Hess, Vitalij Kuprij, L.V. Beethoven, J.S. Bach, Ennio Morricone, Fryderyk Chopin, Dream Theater, Symphony X
For guitar technique: Rusty Cooley, Theodore Ziras, George Bellas, Paul Gilbert, Shawn Lane
For phrasing: Tom Hess, Andy Laroque, Mike Walsh, Vinnie Moore, Marty Friedman, Jason Becker.
There are many more, but this is my top list. All of the above players and musicians are incredible!
What gear do you use and (more importantly) why?
I love Ibanez guitars for their playability, tone and feel. I use an Ibanez RG 42. I like this model a lot because of the neck through body that allows great sustain. Sustain is a huge part of my sound and tone. I use Seymour Duncan Metal Live Wire Pick Ups for the same reason (they are the hottest pick ups around!). I like the tone and feel of D’addario strings (I use string gauge 0.10-0.46). The string action on my guitar is incredibly high, higher than that of any other guitarist I’ve ever met. I do this also for sustain. Also the string tension is pretty tight to fit my playing style and the strong pick attack that I like to use. As for amps, I like the sound of Peavey 6505, the rhythm tone on it is very heavy and tight! For my lead tone, I like the sound of the guitar recorded direct through a pre-amp and I do not use an amplifier or mic the guitar when recording lead.
Talk about the process of recording your album. Are there any tips and trick that you could pass on? How did you choose the other instrumentalists (if you did).
For recording, one of the most important things is to have your music ready to go! The other is to have some idea of the sound/tone you are going for before you start recording. Otherwise, you are going to spend a lot of money in studio costs (if you record at a studio) by changing things around to experiment with different sounds. The other option is to buy your own gear if you can afford it and learn to use it yourself (which can be frustrating at first but has its advantages over recording at someone else’s studio)About other instrumentalists, I worked with an awesome bass player from Milwaukee, Ben Kuzay to play bass on a tune that will be featured on the Chronicles-City of Sound compilation release. Ben is an awesome player technically and has a good sense of counterpoint and melody. Check out his myspace at: www.myspace.com/benkuzay
What parts of your playing reflect your personality and self expression most accurately?
Interesting question… I would say that my phrasing and harmonic ideas are pretty strong in reflecting my personality. However, this is a never ending process, as any self-expressive artist knows… I am always working on bridging the gap between all my musical skills and complete self-expression. The art of self-expression is one of the most important things I have learned from my friend and mentor Tom Hess during my years of lessons with him.
What are you trying to achieve compositionally?
As I alluded to above, self-expression and personal fulfillment are my two biggest musical goals. I am not interested in writing music for the whole world to like. I would rather write the music that fulfills me personally and artistically. I believe that if the music is truly expressive and creative in the artist’s own unique way, then there will always be enough people to like it for that music to get noticed.
If the readers want to get in touch with you, what is your website and e-mail address?
www.mikephilippov.comwww.thenextstepguitar.com My e-mail is: mike@mikephilippov.com
I always respond to e-mails, so don’t hesitate to write to me.
Friday, October 19, 2007
German Shauss interview - The Lightspeeder speaks
German born guitar virtuoso German Schauss has pushed the boundaries of rock guitar music through his architecturally epic music structure and lush soundscapes. He combines ideas of modern instrumental rock guitar music with influences of old masters Bach, Beethoven and Chopin.
After graduating magna cum laude from the world renowned Berklee College of Music, German immersed himself in the Boston music scene. This led him to play guitar for several big music productions and he subsequently played concerts all around the world with his solo band and other projects. He quickly gained a reputation for his remarkable solo guitar and compositional skills for which he was asked to teach at Berklee College of Music, write articles for MelBay and develop an advanced Rock Guitar course on “Shredding Techniques” for the National Guitar Workshop’s online school “WorkshopLive.com.”
German is an endorser of Parker Guitars, Randall Amplifiers, DiMarzio, DR Strings Maxon, Rocktron and Morley, for whom he plays clinics and concerts at international music fair and trade shows such as Musikmesse Frankfurt, the NAMM Show, and other shows around the world. He has also been awarded in 2004, 2005, 2006 and 2007, the ASCAP Plu$ Award from the American Society of Composers, Authors and Publishers.
German lives now in Los Angeles where he is busy teaching, performing, and promoting his new CD release “The Lightspeeder.”
Let’s find out how he does the things he does, and why.
What steps have you taken to forge a career in the music industry?
The music industry can be a very tricky thing. It is important to have the right education but also to have an identity as a musician or artist. I studied music from an early age, went to music school and all that, but the most important thing in my opinion is your artistic qualities and also your character. I have worked on many projects to build up my career. I am an actively performing guitarist, composer, guitar instructor and author. I am also an Endorsee and Clinician for Parker Guitars, Laney Amplifiers, Dimarzio Pickups, Maxon Pedals, Rocktron, and DR Strings. The American Society for Composers, Authors and Publishers (ASCAP), has awarded me the Plu$ Award for writers and composers in 2004, 2005, 2006 and 2007. I have written instructional articles and online interactive video lessons for MelBay Publications and NGW’s “WorkshopLive” on Modern Rock Guitar Soloing, taught guitar at Berklee College of Music and other national and international music schools, wrote and recorded music with my original band, and toured with many bands nationally and internationally.
What advice do you have for people looking to get into the music industry?
To get started in the industry, you need exposure, exposure, exposure. Find an outlet, like the internet and try to promote yourself. You can use networking platforms such as Friendster, Myspace, Facebook, Sonicbids.... the list goes on. I started in the late 90’s with MP3.com. I made a lot of connections and sold my music to a great, attentive audience.
What are the pressures in the industry and how do you cope with them?
In my opinion, the music industry is very similar to other industries. It’s about image and marketability. Of course people will judge you on your artistic and musical qualities, but this can be very personal and sometimes even hurtful. You have to develop a thick skin to cope with all the trash talking and bad mouthing. But remember, people that do that usually don’t really have anything to contribute. They are mostly jealous or have some other personal issue or vendetta. Don’t be discouraged, keep working on yourself and your artistry. On the other hand if you are working as a studio musician or side man, you need to have the right image, clothing, haircut.... in order to get the job playing guitar for Jessica Simpson or other high profile, mainstream recording artists. So you always have to keep up with fashion :)
During your formative years, what sort of practice regime did you have?
I love practising and working on new ideas. I am very disciplined when it comes to practising. I usually practised 1 hour before I left for school when I was 15 to 19 and when I came back another couple of hours, learning scales, arps, theory.... and of course learning songs of my favourite guitar players. I was and am very organised when it comes to practising.
What advice do you have for beginner and intermediate players who are trying to achieve a highly advanced level of playing?
Be patient and try to learn as much as you can from all types of teachers, styles and music. There is so much music to learn that you will always find something that can spark your imagination and creativity.
What gear do you use and (more importantly) why?
I use Parker Guitars with DiMarzio Pickups. These are the best guitars ever made, high quality and wonderful tones and playability. For amps I use the Laney TT Series and I am also using the Lionheart series by Laney. Awesome tone and amps!! As for effects I am using the Rocktron Xpression unit, a Maxon OD 808, Morley Power Wah/ Volume, Digitech Whammy pedal and DR Strings “Hi Beam LTR 9”.
What parts of your playing reflects your personality and self expression most accurately?
That is a hard question. I strive for a balance between chops, melody and composition. Sometimes, I play too much, but I always try to keep everything balanced.
What are you trying to achieve compositionally?
Composing music is not an easy thing to do. I get my inspirations from everywhere, but translating them into sound is a different problem. It takes time when I work on a piece, sometimes I work on 2 or 3 simultaneously. I write different parts like strings, drums, or keys and tie those parts with my guitar, sometimes I start from the guitar part or I write out some lines that I will superimpose or integrate into new ideas. I like to “paint a picture” with my music, some times it’s kinda cheesy but I like it. I also use constant structure and serial techniques to add more dissonance to my music.
Talk about the process of recording your album. Are there any tips and trick that you could pass on? How did you choose the other instrumentalists (if you did)?
Recording my album was not an easy thing to do. Thankfully, I had great musicians and other artist help me. I was very fortunate to have such a support. I basically recorded and wrote all the music in between teaching and playing gigs. I teach about 40 students per week and work on a lot of other projects, so sometimes it is really hard to find the time or energy to start working on my music. I used Dp 4.12 and Logic 7 to record my stuff. I used a live drummer for “The Awakening” but during the tracking session my drummer and keyboard player moved home to NY and I had to send files and have them play separately, which worked for the keyboard but not for the drums, so I programmed most of the drums with Drumkit form Hell. When the tacking was finished, I did some overdubs and started mixing. It was then mixed further and mastered by 2 friends of mine in Germany, who run a professional Recording studio and they wanted to mix it for me. I also had a friend of mine design my album artwork which helped a lot and saved a lot of money. Once I had all the material together I sent it to Diskmakers to have it replicated. After that I sent a copy and the necessary paperwork to the Copyright office and registered all the titles with ASCAP and other Performing Rights Organisations. This took some time but, it is very important that all the legal stuff is taken care of, so that you can earn money and your art is protected.
If the readers want to get in touch with you, what is your website and e-mail address?
Please feel free to visit my website at http://www.germanschauss.com/ or www.myspace.com/germanschauss for more inforation or for questions email me at german@germanschauss.com
After graduating magna cum laude from the world renowned Berklee College of Music, German immersed himself in the Boston music scene. This led him to play guitar for several big music productions and he subsequently played concerts all around the world with his solo band and other projects. He quickly gained a reputation for his remarkable solo guitar and compositional skills for which he was asked to teach at Berklee College of Music, write articles for MelBay and develop an advanced Rock Guitar course on “Shredding Techniques” for the National Guitar Workshop’s online school “WorkshopLive.com.”
German is an endorser of Parker Guitars, Randall Amplifiers, DiMarzio, DR Strings Maxon, Rocktron and Morley, for whom he plays clinics and concerts at international music fair and trade shows such as Musikmesse Frankfurt, the NAMM Show, and other shows around the world. He has also been awarded in 2004, 2005, 2006 and 2007, the ASCAP Plu$ Award from the American Society of Composers, Authors and Publishers.
German lives now in Los Angeles where he is busy teaching, performing, and promoting his new CD release “The Lightspeeder.”
Let’s find out how he does the things he does, and why.
What steps have you taken to forge a career in the music industry?
The music industry can be a very tricky thing. It is important to have the right education but also to have an identity as a musician or artist. I studied music from an early age, went to music school and all that, but the most important thing in my opinion is your artistic qualities and also your character. I have worked on many projects to build up my career. I am an actively performing guitarist, composer, guitar instructor and author. I am also an Endorsee and Clinician for Parker Guitars, Laney Amplifiers, Dimarzio Pickups, Maxon Pedals, Rocktron, and DR Strings. The American Society for Composers, Authors and Publishers (ASCAP), has awarded me the Plu$ Award for writers and composers in 2004, 2005, 2006 and 2007. I have written instructional articles and online interactive video lessons for MelBay Publications and NGW’s “WorkshopLive” on Modern Rock Guitar Soloing, taught guitar at Berklee College of Music and other national and international music schools, wrote and recorded music with my original band, and toured with many bands nationally and internationally.
What advice do you have for people looking to get into the music industry?
To get started in the industry, you need exposure, exposure, exposure. Find an outlet, like the internet and try to promote yourself. You can use networking platforms such as Friendster, Myspace, Facebook, Sonicbids.... the list goes on. I started in the late 90’s with MP3.com. I made a lot of connections and sold my music to a great, attentive audience.
What are the pressures in the industry and how do you cope with them?
In my opinion, the music industry is very similar to other industries. It’s about image and marketability. Of course people will judge you on your artistic and musical qualities, but this can be very personal and sometimes even hurtful. You have to develop a thick skin to cope with all the trash talking and bad mouthing. But remember, people that do that usually don’t really have anything to contribute. They are mostly jealous or have some other personal issue or vendetta. Don’t be discouraged, keep working on yourself and your artistry. On the other hand if you are working as a studio musician or side man, you need to have the right image, clothing, haircut.... in order to get the job playing guitar for Jessica Simpson or other high profile, mainstream recording artists. So you always have to keep up with fashion :)
During your formative years, what sort of practice regime did you have?
I love practising and working on new ideas. I am very disciplined when it comes to practising. I usually practised 1 hour before I left for school when I was 15 to 19 and when I came back another couple of hours, learning scales, arps, theory.... and of course learning songs of my favourite guitar players. I was and am very organised when it comes to practising.
What advice do you have for beginner and intermediate players who are trying to achieve a highly advanced level of playing?
Be patient and try to learn as much as you can from all types of teachers, styles and music. There is so much music to learn that you will always find something that can spark your imagination and creativity.
What gear do you use and (more importantly) why?
I use Parker Guitars with DiMarzio Pickups. These are the best guitars ever made, high quality and wonderful tones and playability. For amps I use the Laney TT Series and I am also using the Lionheart series by Laney. Awesome tone and amps!! As for effects I am using the Rocktron Xpression unit, a Maxon OD 808, Morley Power Wah/ Volume, Digitech Whammy pedal and DR Strings “Hi Beam LTR 9”.
What parts of your playing reflects your personality and self expression most accurately?
That is a hard question. I strive for a balance between chops, melody and composition. Sometimes, I play too much, but I always try to keep everything balanced.
What are you trying to achieve compositionally?
Composing music is not an easy thing to do. I get my inspirations from everywhere, but translating them into sound is a different problem. It takes time when I work on a piece, sometimes I work on 2 or 3 simultaneously. I write different parts like strings, drums, or keys and tie those parts with my guitar, sometimes I start from the guitar part or I write out some lines that I will superimpose or integrate into new ideas. I like to “paint a picture” with my music, some times it’s kinda cheesy but I like it. I also use constant structure and serial techniques to add more dissonance to my music.
Talk about the process of recording your album. Are there any tips and trick that you could pass on? How did you choose the other instrumentalists (if you did)?
Recording my album was not an easy thing to do. Thankfully, I had great musicians and other artist help me. I was very fortunate to have such a support. I basically recorded and wrote all the music in between teaching and playing gigs. I teach about 40 students per week and work on a lot of other projects, so sometimes it is really hard to find the time or energy to start working on my music. I used Dp 4.12 and Logic 7 to record my stuff. I used a live drummer for “The Awakening” but during the tracking session my drummer and keyboard player moved home to NY and I had to send files and have them play separately, which worked for the keyboard but not for the drums, so I programmed most of the drums with Drumkit form Hell. When the tacking was finished, I did some overdubs and started mixing. It was then mixed further and mastered by 2 friends of mine in Germany, who run a professional Recording studio and they wanted to mix it for me. I also had a friend of mine design my album artwork which helped a lot and saved a lot of money. Once I had all the material together I sent it to Diskmakers to have it replicated. After that I sent a copy and the necessary paperwork to the Copyright office and registered all the titles with ASCAP and other Performing Rights Organisations. This took some time but, it is very important that all the legal stuff is taken care of, so that you can earn money and your art is protected.
If the readers want to get in touch with you, what is your website and e-mail address?
Please feel free to visit my website at http://www.germanschauss.com/ or www.myspace.com/germanschauss for more inforation or for questions email me at german@germanschauss.com
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