RobAsh15

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RobAsh15 last won the day on February 1

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About RobAsh15

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    Easy, peezy, toasty, cheesy
  • Birthday 03/20/1962

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    http://www.reverbnation.com/robash1962
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    robash15@yahoo.com

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    United States of America

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    Interested

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  • Getting Critique
    Give It To Me Both Barrels

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  1. You ain't just whistlin' Dixie. We are buying a new home. New for us that is. Actual new homes around here suck... all cheap ass construction, builder grade fixtures and crap. The house we are buying is 30 years old, recently renovated and upgraded. It has a lovely pool and massive deck in the rear. Anyways, where we are now, I've had a couple of complaints about the noise. Inquiries as to how many teenagers live with us, that sort of thing. When we move into the new house, I plan to sound proof my music room. Get Yer Horns UP!!!
  2. In Harm's Way - Metal Church
  3. Hey! Say what you will about my less than cultured ways. All I know is this: The other day my lawn boy mowed my lawn and found enough scrap metal to pay for his tuition!
  4. Yeah, that's all we need.... That... and maybe that nice expensive lookin' guitar over there....
  5. Ah, young man. You tempt me with such an open ended inquiry. However: Simply look for the posting in the Musician;s lounge, titled; "Song Title Association Game". GO TO THE FIRST POST, and read the rules for the game. They are brief and easy to follow. After that, it is recommended that you read a number of previous posts to help you get a sense of how the game is played. Then go the the LAST POST entered in the game and make your own entry! There is no play order. The general rule is that, once you have posted, you allow some time (usually several days, at least) for other players to post their new entries. However, THERE IS NO PLAY ORDER... so if you have a fantastic follow up post after only a couple of new entries, post it! The point of the game is to draw a challenge to your post, which must be a proper entry according to the simple rules of the game. If you can draw a challenge, and then demonstrate that your post is proper, you get an imaginary prize. You also get to chortle and snicker under your breath for one post for having drawn someone to incorrectly challenge your post! All posts should be accompanied by a link to a video on youtube of the song you have used for your entry. Simply copy and paste the full URL in the line at the top of your browser into the body of your post at the point where you wish the video to appear, and the entire video will appear in your post. Good luck, and remember: let's all be careful out there......
  6. Come one! Come all! Come join and play the oldest running game on SongStuff. Heck maybe on the interweb! Heck, maybe even of all time and space! Okay, so maybe only of all time and space in John's back yard. Come play the Song Title Association Game! ...conveniently located right here in the Musician's Lounge, page one. A game of epic proportions (assuming you are a really tiny person). Continuously running since 2007! Simple rules, imaginary prizes. Who could ask for more? Newbies encouraged. We are always on the look out for new marks, -er... players! You. Are. Invited!
  7. Love Is A Social Disease - Bon Jovi
  8. Dude, guess I'll be the first one to break this to you.... You are a singer who also plays solid guitar. That's a great combination, but, whatever else you are, you are most assuredly a singer. I know. In my time I've known a couple dozen great guitar players who would go across town and kill someone to have a voice like yours. Keep up the guitar work, Playing increases your range as a performer. It also allows you to always be able to make your own complete song ideas. Without needing anyone else to help out. But dude... you ARE a singer. Both skills will respond to practice, so you only stand to get better, but you are fool if you have any real aspirations of being a pro, and you fail to take your voice very seriously. Just sayin'...
  9. Tim, With regards to what you've done a lot of and how that compares to bar gigs. Yes, some differences, but less than you might imagine, I think. Especially where it counts. Less vomit at a church, I bet. Load ins. Load outs. More set up than it's worth most of the time. Indifferent crowds. Not all of the time. But often enough. I'd say we are like twin sons of different mothers. Similar, but not identical paths.
  10. I had a lot of local, amateur experiences in my teens and early twenties, Tim. All small time and fully amateur. Then I joined a (still amateur) but extremely dedicated band in my mid twenties, with a moderately high share of skill and ability, and had a good, fun run of about 4 and a half years. The first year was a slog of small gigs, and then we had a run of three years on the circuit, playing mid level gigs up and down the southeast edge of the US. We made just about enough money to starve, and had a ball doing it. After that it was marriage, a full time mundane career, and kids.... a lot of hit or miss, amateur, garage bands... 3 months here, 8 or 9 months there... maybe a few so-so gigs, maybe not. Then, after marrying my second wife, who has been fully and honestly supportive of my being the man I am and pursuing my dreams, and once my last child left home, I got back into music on a deeper level, and was able to join a couple of pretty good bands in my mid to late 40's and do some shows (some of which were excellent fun!) and generally have a great time of it. Eventually my health ended all of that, and I turned my attention to studio recording and song making, which is what I do now. So, all things being relative, as most things are in life, I've had a lot of experience by some standards, less by others, such as working professional musicians, who play 5 or 6 nights a week to feed their kids and pay the mortgage. I never did that, ever. Never-the-less, I've probably played upwards of 200 gigs all told in my life. Most of that (150 plus gigs) coming in a single, continuous four year period.
  11. I wanted to come back and build just a bit on my reply to TC. I've found myself thinking of what he had to say quite a lot, and relating it to experiences I've had. I can remember too many experiences like what he described in his horror list. Amps short circuiting on stage and pulling down half the PA with them. Equipment catching on fire. Breaking a string, and then, after doing a quick change to a back up guitar, breaking a string again in 15 seconds later. A short in the snake that nobody can trace down to fix. Front line stacks falling into the band. Or into the crowd. Drunk band members falling into anything and everything on stage. Monitors going silent and the drummer losing time with the band he can no longer here, so that after about 20 seconds, he's a full bar ahead of the band. And there's always the chance that a flash pot will go off in the wrong spot and catch a band member's hair on fire. Volume wars between the lead and rhythm guitarist. "All I can hear is YOU!" "Yeah? Well, all I can hear is YOU!" Which can, and has, lead directly to... Fights. Fights is a whole sub category of stories. Fights between band members. Fights between band members and fans. Fights between fans that bleed onstage. Fights between band member's girlfriends/wives that bleed onstage. Some fights are almost a good thing, though. It's actually not a bad reason to take a mid set break when you are doing a beach gig and 4 or 5 drunk, hot body, spring breaker chicks in next to nothing bikinis decide to go at it. I called the action, serving as impromptu referee and MC (I did have a mic after all) when that happened at a gig once upon a time. Then of course there's cars/vans/trucks breaking down on the way to a gig. Or members getting thrown in jail on warrants after getting stopped on the way to a gig. Or members pawning half the PA the day before a gig. Or members going into rehab the night before a gig. Or three out of five members of the band out of gas in some one horse town, an hour from the gig, only to discover that everyone in the car is tapped. Nope, you can't control everything. Not by a goodly bit.
  12. Excellent vocal. Great playing. Nicely done! One small nit, for me, would be the mix. The way you had the EQ set up on the strumming I could barely hear your picking work. When you went from strumming (which employs two or more strings and thus increases the overall volume), to picking (individual strings... less volume), it was difficult at times to hear the guitar. This was not the case all the way through the song, but still, it did effect my listening experience. Another suggestion: you won't like this one, I am pretty sure. I am a vocalist. The breathy quality you are adding to your vocal is an affectation, I realize that the "sound" of a breathy vocals is cool in contemporary music. I suggest to you that that "sound" is a product of vocal modulation and the work of a good engineer, not a matter of you producing a "breathy" vocal. I know what I am about to say will strike you as completely counter-intuitive, but in my opinion, if you add in the breathy sound with your actual voice, it sounds over done. You need to sing those breathy notes, with your full, beautiful natural voice, and let your vocal intonation, and the mixer, produce that "breathy" feel you want your vocal to have. A good example of this is the work of Michael Jackson. I concede up front that Michael DID use a breathy falsetto in some of his work, But far, far less than you might believe, without studying his work. I have. Even in songs where he did use a breath falsetto, most of the work was sung full voice. Much of what produced that airy, breathy sound was EQ and effects. I don;'t know all of the techniques the engineer used to produce that sound (early on, Michael did almost ALL his own mixing!), but some ways to accentuate a vocal like that is to 1, bring the vocal more forward (make it louder) in the mix. 2, Accentuate the mid highs and (to a lesser extent) the highs in the vocal EQ. 3, Add a high, tinny reverb to the vocal. Mixed properly, such a reverb would again, accentuate the higher tones in the vocal performance, but would also have an overall affect on the entire vocal track. You can tell, if you do any mixing, that Michael is using these kinds of techniques to modulate the entire vocal track. This allows him to rely more on his full, natural, amazing voice to sing the song. And here is one thing to consider before you dismiss all this out of hand: Singers always sing, Mike. By this I mean that, when you get to the professional level, with rare exception, the proper way to do a vocal is to SING it. With your whole voice. There is no better way to capture the full emotional and dynamic range of a vocal performance than to deliver it with your full natural voice. EQ, effects, and a skilled engineer can take that solid performance from you and pitch it in any number of ways. You can sing notes a little softer (but still with your full voice!), but to go to a forced falsetto in order to try and produce a breathy quality sounds, to my ear, like you are working too hard to produce the sound. You have an excellent voice. If I were your vocal coach (you could do better, but you could also do a LOT worse!), I'd try to coach you to just sing. Relax, go with your gut, and sing. Put all the emotion into it that you can. Sing like you are trying to win the girl. But SING. With your whole voice. All of the time. Learn to use the fine instrument that nature has given you, and stop trying to artificially become, or emulate something you may or may not be. Good luck, and keep posting! This was marvelous to hear.
  13. Nicely done. Welcome to SongStuff, and please by all means post more!
  14. You really make acoustic songs and performances, which, in the hands of someone less skilled can be hard to sit through, extremely entertaining. Great job.
  15. A Song For Departure - Manic Street Preachers