The Musicians Instant Press Kit and Why It's So Important For Your Band--And a lot of Swearing by me

The importance of a solid Press-Kit for Musicians

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By Mark Grove

I’ve tried to get it through to musicians again and again on the importance of having a press kit.That’s fallen on deaf ears for the most part. What I’m going to do here is not rant and rave, but just give you some basics on how to get it done.It's simple to get a solid press kit in the hands of agents,managers, labels and studio people,whether you're a frontman or a sideman who wants to do session work.

We can help you if you'll let us, and there's no obligation on your part to do a thing just listen to us spout off after a major hangover from 3 nights of partying. Only once in a while now, my body can't take what it used to. Here at Canadian Guitar Player we offer Press-Kit writing services like; article writing, interviews and innovative material for your press kit, like articles on aspects of music like tips recording, studio session work, gear--and guitar tips along with music business acumen.

All these music business know-how tips would be written by our writers, but the knowledge would come from musicians, and become part of your Press-Kit. This shows creativity on a musicians part, and depending on if it’s a club you want to be booked at, session work or interest in a label deal, will all be beneficial in progressing not just a band’s career, but for each band member depending on their individual situations.

We have prior articles on writing bios, article writing, and Press-Kit implementing that Canadian Guitar Player can send to musicians who are serious about getting ahead in this business we love so much. The first 2 articles in our press packages are free. We will develop solid press material that will help your band for what ever you’re currently doing as a band. Tell me what you want to achieve in the business.


If you don’t use our press writing services, be ready to work hard. If you love music enough you’ll do it. If you’re a musician in the AFM union, look for our recently published article; How to write a press kit that won’t get thrown out. It’s in the London Musicians Association newsletter called Crescendo.


Start with a basic bio of the band and each member along with how the band got together, and any funny anecdotes along the way. Also include any special talents of each band member such as song writing, recording experience, session work, clubs played at, bands opened for etc.

At that point when you’re done that, get some media coverage from local college press and radio. Ask a student journalist if they would interview your band regularly. See how they do with a couple of articles, and be prepared to pay them with band funds. Getting media coverage from big-city papers, TV and radio is not a great way to start for a band.


Shun mainstream media. Fuck them!


Yeah, if you don’t like what I’m saying and you know I’m right anyway,I’ll help you get started with a Press Kit. Like I said above, get a student journalist who believes in your music, get regular interviews every time you play, and even be prepared to think differently and interview band’s in your genre. This will show a lot of interest and other bands will follow suit. Having  a band  website or blog is important now to promote your band online, with interviews, Discussion boards, tour dates, what the band is doing currently, and have free material  on your site while you’re recording a new EP, album or compilation CD.


What you can do to promote your band is endless. Just be ready to pounce on ideas even if they don’t do what you want at first. So let’s get started and email us at Canadian Guitar Player and we’ll talk about setting you up with an Instant Press-Kit.

C-Ya,

mdgrove@rock.com

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Why Small Practice Amps Will Get You Your Best Tone,Period,End of Story

By Mark Grove

Many a studio session player from LA studio veteran Carl Verheyen, to Nashville Whiz Brent Mason, have used smaller amps to enhance or get the sound they were looking or listening for. Small amps aren't just good for recording demos, in some cases you find the sound you're looking for with tiny 10 to 30 watt amps for recording sessions.

When it comes to recording, size doesn't play into the picture. But one thing you shouldn't do, and that's buy amps that are modelling amps. If you can get the sound you want from a simple amp hooked up to a solid mic like a Shure 57 or 58, and a good mixer you're cookin'. If you can't set up a 15 watter with basic volume, bass, treble and gain knobs, how do you ever expect to work with a modelling amp.


Modelling amps let you cheat to some degree, and give you a variety of sounds to literally dial in with a simple flick of the switch. Modelling amps have their purpose and can add enhanced dimensions and sounds you don't normally get from a straight amp with no frills. Crate, Roland and Vox all came out with great small amps to use in the studio, practices and club work.


The Roland version was more a modelling amp and I wasn't really impressed. You have to learn how to work your sound with a small amp, guitar, mic and mixer. Some of the greatest studio sessions have been used with small amps and resulted in music when transferred to vinyl or CD, things of beauty.

http://www.crateamps.com/ Amps for recording, stage and just practicing to fit any sound

Why Musicians Need Writers Who Criticize Their Work Like A Bastard

By Mark Grove

What your band needs is people who criticize your work, not just fans who love it.

You can't just have positive reviews. Your band won't be focused mentally to do better if that happens. Don't analyze what I just said. Don't take it personally as a challenge to prove a music journalist wrong. Just be a better band because you want to play music that moves you and your band.

Find your band's own sound.

Compose and play music that just blows you fuckin' away! Not what the public wants. They don't count. The music media and the music industry don't count either.  Make music your band likes--and if you develop a rabid crowd who are fans great! I would rather have 1,000 people who love our music and bought a band's CD's,than 10,000 people who bought it listened to it once then threw it in the pile and never go to a band's gigs.

The people who do buy and go to a band's gigs are the people I want on my buyer's list. They buy for the right reasons. The people who just look around, aren't really lovers of a band and put them down for just about any reason including what other people say, regardless.

But the rub here is real music lovers always show themselves,and real musicians and fans show that music is the real truth. Critics from media to fans will always show themselves and your band needs to mentally wrap it's head around the fact that negative press is every where. By pass it, and bring the bad press on. The people who get hung up on pigeonholing your music and saying you don't know shit about being a band, don't ever worry about them.

Just keep putting out better and better Demos,Albums and gigs.

Mark Grove

Mark's 5 Rules of Jam Session Success

By Mark Grove

Jam session playing is one of the most important aspects of playing period. Want to get noticed as a player go to jam sessions regularly. Watch other players and what music they play. Then play what they play, but improvise it your way.

If you don't like Blues music which is played at most jams,too bad get used to it. Or quit. Got the guts? be a jammer.

Jam sessions are a great way to learn from your town's best players, and even learn from players with as much time in as you. Some of the greatest moments in playing come from jam sessions not necessarily club shows or concerts. So when you start jamming don't force your playing on everyone else. As well, don't think you have to play to everyone else's level. That will come in time. Just learn, watch and practice with others.

Here are my 5 Rules For Jam Session Success:

1--Don't go to Jams to show off your chops. Complement other players and their playing. You can solo a little but only if there's an opening and do it just for a short time.A jam is for playing with others man.


2--Try not to play above the tempo. Why? Because all you'll do is piss off other players. If you don't know ask others if you don't know proper jamming protocol.

3--If you're a beginner tell the others onstage that you are. Don't try to play something more difficult just to impress. The audience understands but regular jammers want someone to be able to at least play along. So play something you know. Just my take on that issue.

4--Listen to other Players play.That way when you play you can guage your playing and not play too much or too little. Your fellow jammers will love you for it.

Note: Pay homaage to great local jammers and bluesmen by researching them and playing their tunes. Learn them until you kill the song.

5--If you're an advanced player/jammer who plays regularly, show other jammers how to play certain tunes they're having a hard time with. Teaching other jammers will help you become a better player and more in demand as well as in demand with local blues bands and doing possible paid session work.

But become a jammer above all else.

One of the greatest jams sessions held every Monday is in Tazana,California hosted by Cadillac Zack. The othe great blues jam is in London Ontario Canada at the London Music Club. It is hosted by Pete Denomme.

http://cadillaczack.com/

http://londonmusicclub.com/

So get out there and jam guys.

Mark Grove

Why You Musicians Need Hobbies

By Mark Grove

Most full time musicians don't have a life outside music. There is nothing wrong with spending the majority of your time with music, but a lot of musicians spend an inordinate amount of time consuming "Trendy Chemical Amusement Aids." I spent a lot of years doing just that and enjoyed it 99 percent of the time. But most shit head musicians who play and party like a bastard will eventually give up being a musician.

Once again I'm not against partying. I get drunk once in awhile and I'll always have a couple beers. But here's the bloody rub fellow players. You need other outlets besides playing music. If you can't do anything else so be it. But if you want to continue being a musician, you need a god damn hobby! It might be as a writer, photographer or dare I say it as an inventor.Get a hobby, get 5 hobbies.

Most people just work, go home and do family type things. To stimulate your brain and creative juices flowing, having a hobby outside of music can help your music career.

Here's My Reality:

I work a regular job and I'm a writer in the music, sports, golf and investing fields. I write bios, artist profiles and how to stuff for musicians, golfers and sports people. All for free. Most people would not write for free. They wouldn't do anything. I realize musicians have their reality with a family and maybe a second job. You still have time for a hobby. Breaks at work, before work and small pockets of time between shifts. You could think of ideas for songs. Lyrics and music.

Most people at work waste their time talking to others and talking about nothing. As well, most people just talk about things they're pissed off at. You don't need them. Think about your time and how you conduct it. Family and a job count. So does being a working musician. But you need to work a hobby. Be it song writing, writing articles or a hobby that can eventually make you money. Hell,even basket weaving. if you think about it basket weaving will make more money than most musicians make. So get a bunch of hobbies but focus on one mainly.

So for the most part stay off the fuckin' dope.It's okay in your teens and twenties but in your mid 30's you've got a problem. Unless you're a mega-money making musician, actor or business person who will never out live their money, don't keep partying beyond your means. Unless you like the street. Write a script, write a song or article about something you know about.

If you're a mechanically inclined musician consider making an amp cabinet and a low watt amp. A low watt amp could help you at jam sessions and some recording sessions. If you're a serious player and gear head you might want to make a bunch of low watt practice amps to sell. If you're a serious session player you could build an amp to spec for your session work outside of your regular band.

There are so many hobby ideas for musicians. No,stamp collecting is not a hobby!

Get a hobby musicians.

Mark Grove

How You Can Play Blues Guitar Like Mike Bloomfield

By Mark Grove--From a ditch in Lambeth,Canada

It's not that difficult fellow players.Mike Bloomfield was one of the greatest blues guitarist's ever.In my books he was just as good as Hendrix for playing blues.Yeah,you're probably thinking Hendrix is the best. Yeah, maybe. Okay,I've talked about how to play blues covers your way in two fairly recent articles,and in passing in many articles. Including many talks with our resident blues guru Dee Curtis. I should always remember to have the tape running when he's around.it's always pure gold in reference to playing tips!

Alright,for those of you who don't know Bloomfield was a blues finesse player better than today's bluesmen,
and yes better than Clapton. He weaved his blues playing his own way which you can do as well on lead guitar and bass as well.Mike also took cover material and blew away his fellow players with his skill. He's one of the few session guys who could play sonmeone else's material for the first time and astound everyone. He would take parts and play them like a jazz player.So here's what to do fellow players.

First,listen to Mike on the 1968 Super Session Album with Al Kooper,Graham Nash and Mike. You'll find Mike delves into different chord structures that come from the simplest songs. Apply these techniques on lead and bass especially for a more percussive like chord feel,texture and riff structure as well. Don't just follow Mike's blues licks note for note.

You can find a copy of Suer Session on Amazon probably. But like I've said in previous articles,the best way to learn if a live band isn't right there is to listen to an analog record album. Find a copy of Super Session on a record. Even if you have to go to a record store and have it imported do it! If you're a real blues player you'll do that. Or find a local blues player who might just have a copy. Listen to the warmth,the tone and feel of the playing. That's real blues being played.

Apply the techniques on this album,pick one song to play like a pro and apply the feel on a jazz and blues level and just enough to keep your playing different from the recording. But enough to keep the basic foundation. Mike passed on in 1981 and we blues lovers,players and writers salute the fuck outta you Mike. This is real music man.

if you listen to the CD version,stop being a musician and sell your equipment. Analog recordings still in good shape are the best. Not analog recorded to digital. Give your head a shake and don't try to pull a fast one. Wanna be a real player?  Play it like you mean it, and listen to real music.

Mark Grove--Still from a ditch in Lambeth.

Why Low Watt Amps Are a Players Best Friend And How To Teak Them Just Right

By Mark Grove

I was going over an old article in a Bass Guitar Mag, and thought this would be perfect for all the Bottom-Feeders out there. The Bass player talking about amp setup and volume was none other than the Old Man himself, Geezer Butler.

A Bass Players goal of the ultimate tone is nowhere near as important as when it comes to amp setup. First of all, playing loudly in the studio all the time can decimate your overall sound, and give it a tone that makes for a long day of tweaking that sound just to get it down right.


Keeping this in mind, there are a combination of things at work here. First of all your volume is what's at stake here mainly. Now using huge honkin' amp with 100's of watts is useless unless you're playing heavy metal.

So using a small 15 to 30 watt amp for blues,jazz,or hard rock along with just one or two stomps for a pounding tone, will do the trick.

No more no less, depending upon the situation.


You want amps with maybe two speakers at the most, and are 2x10's. But stick with one speaker and you're doing just fine for the blues and hard rock. Another thing is getting the right tone with your bass may mean either using your fingers or a pick so you can cut through drums or guitar work and still be heard.


Going back to small low watt amps. You can turn up these babies and tweak your bass axe pickups so they give you the sound you want and need. And your sound is based not just on the amp or bass setup by themselves.

Using the Right Bass Pickup combination:

Your bass should have at least two Humbucking Pickups and a single coil. Want you want to do is stick the single coil in between the Hum's for better overall tone depth--and the range of tone is better because of it. Having two Humbuckers in parallel, or one above the other would not give a tone that's suited to even heavy metal in a lot of cases.

So in ending, by cranking with 500 watt amps or Marshall stacks is useless in a studio situation. And you tend to lose the right tone as well. So by using low watt amps or practice amps--you can get pretty much the same sound yet it's not as loud or offensive. You also tend to get a better recording whether you're playing a club gig or in a studio setting above all else.


Mark Grove markgrove20@hotmail.com