Menu

performance

Songbirds Tube Screamer

Tube Screamer: How to Use

, , , , , , , ,

Known for their guitars and cutting innovations with modern rock and metal, the Japanese company Ibanez created one incredible effect that has become legendary: the TS-808 Tube Screamer. Originally produced in the late 1970s, this guitar pedal is still being sold and added to guitar pedalboards around the world. It’s rugged, heavy, and iconically green. The Tube Screamer is heralded as one of the best overdrive circuits ever made, but the guitar community has been sharply divided on its tone and usefulness since the beginning. Let’s clear up some confusion about the TS-808 Tube Screamer.

*Note: I am admittedly not a fan of the Tube Screamer. I definitely prefer more transparent overdrive options. However, I’ve learned how to use a Tube Screamer effectively and can get some cool tones out of it.

 

First Things First:

Let’s clear this up right away. The TS-808 is named the Tube Screamer because it can make your amp’s tubes scream. It does NOT replicate the sound of a screaming amp. Maybe that was a marketing fluke, but the ambiguity has caused countless players to buy this expecting a great overdrive circuit right out of the box. This pedal must be used in conjunction with a tube amp.

 

The Amp:

Sure, you can run a Tube Screamer into a solid state amp, but it likely won’t sound very good and certainly won’t produce the tone that Ibanez champions. For best results, you have to use a tube amp. Hybrid models that use solid state preamps and tube power sections won’t do it – the amp needs to be all tube (with the exception of the rectifier, which can be solid state).

General consensus indicates that a vintage-style blackface Fender amp or a Marshall sounds the best, but anything with hot tubes will work. Check out our article on different Fender amps if you're wondering about the company's amp eras.

 

Speaking of Hot:

Your amp should be cooking to benefit from the Tube Screamer. It’s an unfortunate circumstance for most guitarists these days since the amp market has shifted to overall lower output, but your amp needs to be loud for this to work. Using the circuit with a quiet tube amp will result in fizzy, lackluster overdrive that may sound like it has been EQ’d incorrectly.

You want to set the amp to the edge of breakup, or light amp distortion. When the Tube Screamer is engaged, it will boost and over-saturate the guitar’s signal. This means that the amp’s preamp tubes get hit harder, that signal is… well… amplified, and the power tubes distort more than they would have on their own. The Tube Screamer pushes your amp over the edge and helps it roar.

 

EQ:

The TS-808 is known for its prominent midrange boost. Many blackface-era Fender amps have a missing chunk hollowed out in the mids, so using a Tubescreamer simultaneously beefs up the Fender sound and tightens up the bass end of the spectrum. This is particularly useful as many players complain about Fender’s flabby bass tones during passages with high distortion. Armed with this knowledge, try using the EQ controls on your amp to play with the mids. The Tube Screamer is known for being dark, so you may want to experiment with adjusting the treble on your amp in addition to the tone control on the pedal.

 

Tricks to Try:

In my opinion, the distortion that is generated from the Tube Screamer’s circuit is pretty unremarkable. It certainly can’t compete with the sound of your tube amp’s natural overdrive. I like using it as a boost – try reducing or limiting the gain on the pedal and using the volume control almost exclusively. Higher volume output means hotter incoming guitar signal to the amp, which means hotter amp distortion. You can color the amps’ distortion by mixing in a little gain from the pedal, but I wouldn’t let the circuit’s grit get in the way. Let your amp do the talking.

Although it’s not a great standalone pedal, the Tube Screamer works fantastically as a stacker. Try combining it with another overdrive or distortion pedal. John Mayer has used the Tube Screamer stacked with a Klon for a long while, and it sounds great. This works best with a transparent circuit like the Klon or a Bluesbreaker.

 

Final Thoughts:

It’s helpful to think of the Tube Screamer as an extension of your amp, or an amp hacker, rather than a pedal. It’s really good at doing one thing, which is pushing a hot tube amp over the edge and making it roar. Most players aren’t using loud tube amps for practice or gigs, so the Tube Screamer may not be the best choice for your application. The actual TS-808 circuit is legendary, however, and countless clones and competing pedals have evolved from its success. Let us know if you have any guitar pedal questions, and I hope that this information about the Ibanez Tube Screamer helped to clear up some confusion!

Check out this gallery from the legend himself, Analog Man, to see the different iterations of the Tube Screamer.

Songbirds Ten Solo Gig Tips

Ten Solo Gig Tips

, , , , , , ,

I’m the first person to confess that I’m certainly not the master at performing solo, and I’m not selling out crowded stadiums. However, I’ve learned a lot from gigging and continue to do so! There are a lot of pitfalls that ensnare new solo gig performers – many unfortunately are learned the hard way, but if you’re savvy and just starting your gigging career, I hope that you can read on and avoid some of these mistakes that I had to overcome! Contact us if you have specific questions or are looking for some gig advice!

There is a lot of crossover with this information in regard to performing with any group and at any type of venue. For the sake of this article, we’ll assume that you’re a solo gig musician (singer/songwriter type) performing cover tunes at a public place like a restaurant, bar, or cruise ship.

Don’t Test Drive a Song at a Performance

This is the most important one, and the mistake that every performer makes at least once. Always, always, always, practice your songs at home before giving them a spin in public. It’s challenging to pull and keep a crowd that is engaged with your music, and it only takes one lackluster song for the mood to shift and for people to start closing out their tabs. It’s the call of the siren on the hidden rocks – I KNOW that you really want to play that song that shaped your teenage years that you only thought of in the moment because someone walked past wearing that specific band tee, but DON’T DO IT. Go home and practice. Do it at the next solo gig. Trust me.

*Small caveat: I have been known to “wing” requests as a bit of a schtick. If someone comes up, gives a tip, and requests a song that I kind of know, I’ll often do part of it or give it a try. Note that I only do this if the mood at the venue is right and if I am at least ninety percent confident that I can pull off the gist of the song. If it’s a tune that I don’t know, I won’t do it period. The trick here is to feign reluctance and give in to make the other person happy, all the while being in control of the situation and knowing your own musical limitations. Attempt with caution.

Prevent Request Monopolies

Speaking of requests, remember that YOU are the performer and that YOU have the most experience building a solid solo gig set and keeping a crowd. Taking requests is super fun and rewarding, but it’s your responsibility to tailor what you get to fit the venue. For example, playing a request for a slow Elvis tune smack dab in the middle of a fast, dancy set is a surefire way to clear the floor. Fit requests into the pace of your already existing set layout.

It’s also important to prevent request monopolies, or when one person makes several requests back to back. Even if all of the requests are good choices, doing them in a row kills the mood and energy of the set. To be blunt, energy drops mean less engagement, which means less people stay, which means less people tip, which means less money is in your pocket, which means your mood also loses steam and the solo gig slogs on.

Avoid Self Indulgence

When you’re building your set, only include “keeper” songs that you know most people like to hear. Ask a trusted friend or family member to help you weed out your B-tier tunes. You’re there to be an entertainer, so you only want to keep songs that will grow a crowd, generate tips, and fit the atmosphere of the venue. Top 40s (pretty much anything that has been on the radio for a while) are safe bets as well as classic rock and pop tunes. This isn’t the time to play your favorite K-pop deep cut as very likely most people won’t know it. If the crowd can sing along, you’re on the right track. I never particularly want to play “Margaritaville” ever again, but I live in Florida and play bar gigs. So, I do it because it’s what the people want to hear.

Up Tempo is Where It’s At

On the topic of singing along, almost all of your songs should be fast or mid-tempo choices. Of course, you can throw in a couple of slow bangers, but keep them sporadic and make sure that they’re generally well received. Any tune that leans to the slow side is a risk for clearing the floor and the crowd. A song like “Can’t Help Falling in Love with You” is a nice choice because it’s a great slow dance tune, it can be dedicated to someone at the venue who might have just tipped you or might be celebrating something special, and it gives you a vocal break. If you pick a slow song, it’s your job to sell it as an event – a reason for changing the pace – not just a random song in the set list.

Be Personable / Have a Schtick

This one happens as you gain experience and confidence with gigging, but it’s super important. Talk and joke with your audience, build rapport over time, and don’t be afraid to show a little of your authentic personality or the persona of your performer. Be willing to be silly – it goes a long way. For example, I just had a solo gig where I played “Roxanne” by the Police, and a woman ran up to say hello because her name is Roxanne – a serendipitous occurrence that has never happened before! Extending the song and making a big deal of dedicating it to her was definitely worth it. Try not to be a robot and jump from song to song. Talk in between tunes, announce who wrote it, tell small anecdotes, etc. Anything that you can do to show your friendly side helps, and it’s necessary to create a following of fans from gig to gig.

Have Thirty-Seven Backup Plans

There’s no debating it: things always go wrong at a gig. Whether it’s a bad cable, a forgotten piece of gear, a broken string, or a random source of hum, something will fail at the worst possible time. I have a rugged backpack that I use to carry all of my small gear like cables, and I always pack it with at least two extras of everything that I need. My guitar case has a million extra picks and several full sets of strings. Even though I only use one microphone, I have three with me. If you have extra supplies, you’ll be good to go when something breaks.

The other side of this coin is that you should know your gear inside and out. If your guitar pedals stop passing signal, for example, you have to know what to unplug to quickly troubleshoot on the fly. The more intricate your rig becomes, the more points of failure are introduced. Try to limit your solo gig setup to only the bare essentials.

Commit For the Gig

This is challenging to maintain, especially when very few people are at your gig. It’s critical to perform with high energy and give the gig everything that you have even when no one is watching. The audience is smart and will know if you are phoning it in. Solo gig energy is contagious and builds on itself – if you’re not putting out the energy that you want to receive in return, the gig will slow and people will leave.

Know Thyself

Knowing your own limitations, strengths, and weaknesses as a performing musician comes with time and perseverance through setbacks. However, it’s crucial to understand details like your vocal range, endurance, artists that you can cover comfortably, artists that you should probably avoid for now, how you react under pressure, when flustered, and more. Every little bit of groundwork that you can lay in knowing your skills before you perform will help tighten your set and result in a more polished performance that has fewer moments of potential derailment.

Self Promote

No one will promote your business better than you, so don’t be afraid to advocate for yourself! Be sure to announce your name, your upcoming solo gig performance dates, and any other important information like a website or social media. I put small business cards out by the tip jar so that fans can get in contact if they’re interested. If you have an album or original music, you can make a QR code, sign, or even have some select merch with you. Don’t overdo it, of course, but ensuring that your fans know you by name is a great first step in building brand recognition and people who can follow your musical journey.

Be a Good Partner

In most cases, you are performing at a venue that you don’t own. It’s vital to be a good partner with the administration of the venue and be easy to work with – that’s how you get hired back! My bandmate always says that the true talent of the evening is the “bar / wait staff”. Always announce them, give them shoutouts, and be social with them. Be professional but friendly with the management and whoever is your point of contact with the establishment. At the end of the day, everyone who works at the venue will have something to say about you which will have a direct impact on your chances of getting hired back – always put your best foot forward and be yourself!

Songbirds Amp Brands

Guitar Amp Brands

, , , , , , ,

While this guitar amp list is by no means exhaustive, read on to learn about some of the most popular amplifier manufacturers and what musical flavors their products bring to the table! Check out other useful articles on our Repair Page as well.

Fender

Fender amps have been around since nearly the beginning, and they quickly built a reputation of being reliable and defining the industry standard. They produce the quintessential “American” guitar amp tone and are known for their sparkling cleans. Early Fender tube amps like the Tweed Champ, Deluxe, and Bassman offer harmonically-rich breakup and overdrive that respond well to picking and dynamics. Powerhouse models like the Twin Reverb and more modern Blues Deluxe or Blues Deville are known for their extreme volume output and high headroom. Some models from the 1970s and 1980s were built with an “ultra-linear” method. This means that they had nearly indefinite clean headroom and would never distort.

Today, countless options are available in both tube and solid state packages. Combo amps with onboard digital modelers like the Mustang are great options for at home practice, plus there are frequent reissues of the original tube circuit designs. If you’re looking for a good pedal platform that excels at clean tones, Fender may be the brand for you. Most Fender amps aren’t capable of roaring distortion, and many players agree that their onboard overdrive tones can get flabby and “bottom out”. Still, having a great Fender guitar amp (and maybe a few pedals) will help you play nearly every genre that you like.

To hear the sound, listen to bands including the Grateful Dead, B.B. King, and Stevie Ray Vaughan.

Marshall

A giant from the British Invasion, Marshall still champions incredible tone with amps that are made to rock. From their beginning with the JTM45, Marshall has always had the edge (pun intended) on the competition with genre-defining distortion. Fans of rock, hard rock, punk, and even some metal will instantly recognize the sound of a cranked Marshall tube guitar amp.

The JCM800 was introduced in 1981 and changed the history of rock forever. While the Fender Deluxe (or Bassman, depending who you ask) may be the most recorded amp in history, the JCM800 was the sound of multiple decades of music, and is still going strong with heavier iterations like the JCM900.

Marshall amps often boast circuits that are loaded with many stages of tube gain and the ability to cut through the band. If you’re looking for the iconic sound of rock and hard rock, Marshall is the brand for you. While their clean tones are still useful, most players use Marshall for their high gain channels and rich distortion and play clean through other amps (or complement the Marshall clean tone with pedals).

To hear the sound, listen to bands including AC/DC, Guns ‘n Roses, and Rage Against the Machine.

Vox

Another colossus from Britain, Vox amplifiers are a unique middle ground between Fender and Marshall sounds. Vox tube amps like the AC30 and lower-output AC15 have clean sounds that never quite clean up to sparkling crystal. They often have a bit of crunch, and their high-gain (called “Top Boost” with Vox) is a fiery, growling distortion that can go head-to-head with many Marshall amps while having their own unique voice.

A big component of the Vox sound is the unique EQ and Cut controls that are onboard most of their flagship models. While Fender amps can suffer from too much treble (the “ice-pick” sound), Vox amps can overwhelm the band with too much presence. This Vox Cut allows the player to dial back the biting edge and tweak just the right amount of distortion to rock the band.

To hear the sound, listen to Brian May of Queen, Tom Petty, and the Beatles.

Orange

As the saying goes, Orange is the new Marshall! These amps are another example of British sound, but in a far more modern and punchy format. This brand is known for heavy music and modern metal. While sometimes they are critiqued for sounding too sterile or flat, Orange amps excel at the ability to overwhelm with high gain crunch and chug, tones that can compete in niche genres like djent and doom.

Much like Marshall amps, Orange offers usable clean channels, but their bread and butter is the sweet roar of guitar amp distortion. If you are a fan of metal in an often affordable package (like the Orange Micro Terror or Dark Terror), this brand may be for you!

To hear the sound, listen to bands like Slipknot, Mastodon, Korn, and Asking Alexandria.

Ampeg

Ampeg is, and has been for a while, the leading giant of bass guitar amplification. Their amps have been used on countless records throughout the decades, and they offer products in both tube and solid state packages. Much like with Fender and their clean sound, the Ampeg tone is ubiquitous across nearly every genre.

Some famous guitarists have used Ampeg bass amps to get extra clean headroom. Bands to listen to for this example include the Rolling Stones, Jeff Beck, and Peter Frampton.

For the famous bass guitar sound, listen to bands like The Who, Billy Joel, Sheryl Crow, David Bowie, and Heart.

Peavey

Peavey amps blossomed into popularity throughout the 1980s and continue to hold their niche in certain genres, specifically metal. The flagship model of the Peavey guitar amp line is the 5150, made famous and used heavily by Eddie Van Halen. The 5150 is still the king of that specific tone and is available for players who want deafening volume and screaming leads.

Other, less expensive, Peavey models like the Backstage, Rage, Classic, and Bandit offer indestructible reliability and cheap barriers of entry. These amps are pretty common on the used markets and tend to last forever if treated gently.

To hear the sound, listen to Van Halen, the Pixies, and Queens of the Stone Age.

Roland

Mostly known for their keyboards and digital pianos, Roland hit it out of the park with arguably the most famous solid state guitar amp of all time: The JC-120 (Jazz Chorus 120). Don’t reach for the remote – you would never be able to tell that it’s a solid state amp. It has fantastic onboard distortion that mimics the sound of real tube breakup, plus it boosts ultra clean tone and high headroom that is perfect for guitar pedals.

The real gem of the JC-120 guitar amp is a special onboard chorus effect that is true stereo. The amp has two onboard speakers, each controlled by an independent output transformer. The stereo chorus sends the guitar signal washing through each speaker, resulting in an immersive, swirling tone that surrounds the player in the room. The JC-120 is available in smaller and lighter packages if you don’t need a lot of volume but still want the incredible chorus effect.

To hear the sound, listen to bands like U2, Eagles, Muse, Aerosmith, and the Cure.

Hiwatt

Hiwatt amps complete the trio of the British Invasion sound of the 1960s, paired with their friends and competitors at Vox and Marshall. These amps are quite similar to Marshall products and also excel at high gain applications. While Hiwatt amps do have their own unique tones and flavors, the main difference is their build quality and internal specifications: all Hiwatt amps are made with military-grade soldering and wiring with their point-to-point layouts within the chassis, plus they are made with marine-grade vinyl. A Hiwatt guitar amp is a work of art and a thing of beauty when opened. What's more, they are meant to withstand even the toughest of shows and are built like tanks!

To hear the sound, listen to the Who, Pink Floyd, the Moody Blues, and the Rolling Stones.

Personal Favorites

While it’s hard to pick from all of the awesome amps and brands that are available, I’d say that my favorites (at the moment) are as follows:

Clean tone: Roland JC-120

Dirty tone: Fender 5e3 (Tweed Deluxe)

High Gain tone: Vox AC-15

Wild Card: Silvertone 1484 Twin (no longer in production, but check out this cool article about it!)

If I were stranded on a desert island and could only have one guitar amp, it would be the Vox AC-15.

Show Day and Costumes Dance Recital Guide

Dance Recital Guide: Costumes and Show Day

, , , , , ,

Check out the second installment of our Dance Recital Guide! The first blog can be found HERE. This one is all about taking care of your costume and getting ready for the big show day. Special thanks once again to Ms. Ayleen for writing this helpful content.

Costume Care:

  • If your costume gets dirty, spot clean with cold water and mild soap.
  • DO NOT use washing machines, dry cleaning, or ironing.
  • If needed, gently steam the costume using a garment steamer to remove wrinkles.

Shoe Care:

  • For leather shoes, use matching foundation to cover up dark spots and abrasions for photos.
  • For canvas shoes, gently spot clean with cold water and mild soap.

Costume Preparation:

  • Make sure costumes are neatly hung up.
  • Talk with your dance teacher about specific problems such as itchiness or undergarments showing before the show day.
  • Wear seamless and skin-colored undergarments or a leotard under your costume
  • Make sure straps are clear and/or convertible. This ensures that no straps are visible on stage.

To keep the fluff and poofiness of the costume:

  • Hang costume upside down
  • Gently use hairspray on the bottom of the tutu to keep its shape
  • Gently and lightly hairspray tights to prevent rips

 

Show Day Preparation and Tips:

  • Bring hair and makeup items in an extra bag for emergency touchups.
  • If participating in more than one dance, bring bags to separate shoes, costumes, and accessories.
  • Assigned backstage parents will be made aware of costume changes. Review costume changes with them and let them know if you will need assistance.
  • Set up a small station for your costume change. Take your costume out of your garment bag, lay shoes on the floor beside it, and have all accessories close by and ready to go.

Bonus Tips:

  • If possible, bring an extra pair of tights in case of a rip.
  • Use body glue if your dancer is doing tricks, doesn't wear tights, or if the costume moves a lot.
  • For any questions regarding costumes, please ask your dance instructor.
  • Label the dancer's name on the costume, tights, and shoes.

Recital Checklist:

  • Checked dancer information sheet
  • Bought tickets
  • Packed hair supplies for touchups
  • Packed makeup for touchups
  • Packed a small snack
  • Packed a lot of water
  • Packed backup tights (if you have extra)

 

Dealing With Nerves:

Recital day is a very special day for all of us. All season long, our dancers have made bonds with their dance friends, had fun in class, and practiced their dance to show a big audience. However, for many, this is their first time on stage. Even if they have done a show before, the nerves may still be there. Here are some ways to help ease their nerves on show day:

  • Find a story or book that relates to your dancer. My personal favorite is “The Night Before My Dance Recital”
  • Write a special note for your dancer to read backstage.
  • Talk to your little dancer. Ask them what their favorite part about dance is! Get them excited about being able to dance again!
  • After the show make them feel special! Getting on stage and dancing is a huge success. We are proud of our dancers for following their passions and we want to encourage that and help them find confidence on stage, before and after a show.

 

Conclusion:

We can't wait for our big Spring Dance Recital, and we hope that this information is helpful to our dancers! Remember to check out the other half of this guide as well as our other posts on the Knowledge Blog. Until next time, keep dancing, and see you at the show!

Dance Recital Guide Hair and Makeup

Dance Recital Guide: Hair and Makeup

, , , , , ,

It’s Dance Recital Season, so I thought we should share some great advice and guidance on how to best prepare your dancer for the big show! Special thanks to Ms. Ayleen for creating this excellent content. Please note that students of other dance programs may have slightly different requirements – the instructions here are what we use at Songbirds. Stay tuned for next week’s Knowledge Blog which will include more Dance Recital information like costume care, tips for handling nerves, and special things to bring to the show!

Styling Hair for the Dance Recital:

Any of the following hairstyles are great choices for a Dance Recital. Be sure to check with your instructor to see if she has a preferred choice for your routine!

Ballet Bun With a Donut

  1. Slick the hair back into a high ponytail
  2. Place the donut onto the base of the ponytail
  3. Spread hair around the donut and secure it with a hair tie
  4. Wrap the remaining hair around the base of the bun
  5. Secure all the hair with pins and hair ties
  6. Slick back the hair using gel, hairspray, hairnet, etc.

Ballet Bun with Thick Hair

  1. Slick the hair back into a high ponytail
  2. Separate the hair into two sections
  3. Start wrapping one section of the hair around the ponytail. Secure it in place with pins
  4. Take the second section of hair and wrap it around the first section. Secure it in place
  5. Repeat these steps until all of the hair is wrapped and secured.

High Ponytail

  1. Trace your finger from the ear to the top of the head. This is where the ponytail should sit
  2. Slick back the hair and gather it all together where the ponytail should be.
  3. Secure the hair with hair ties, spray, gel, etc.

Half-up Half-down

  1. Trace your finger from the ear to the top of the head. This is where the ponytail should sit.
  2. Starting at the ear, use a comb to part the top half of the hair. Secure it at the top of the head.
  3. Secure with hair ties, spray, gel, etc.

Low Ponytail

  1. Part the hair in the middle
  2. Slick back the hair to the back of the neck
  3. Secure with hair ties, spray, gel, etc.

Low Buns (for Acro)

  1. Unless specified otherwise, low buns are the required Acro hairstyle.
  2. Use the same method for ballet buns to create a bun at the back of the neck.
  3. Ensure that the dancer can perform performance tricks with ease with the hairstyle

Styling Short Hair

  1. Use half-up half-down styles to be able to secure as much hair as possible
  2. Use extra pins, hairspray, and gel to ensure hair does not fall out
  3. Use low buns instead of ballet buns

Special Notes and Tricks:

Hairspray and Hair Gel should be used for all hairstyles. This ensures that all flyaways and baby hairs are tamed and that the hair stays put through the entirety of the performance.

Bobby Pins and Ballet Pins should be used for most hairstyles. These also ensure that all hair stays put through the entirety of the performance.

Thick U-shaped ballet bun pins are best for all bun hairstyles.

Hair Nets should be used for all bun hairstyles to keep the hair secure for the show.

ballet bun dance recital
Ballet Bun
High ponytail dance recital
High Ponytail
half up half down dance recital
Half-Up, Half-Down
low ponytail dance recital
Low Ponytail
low bun acro dance recital
Low Bun (for Acro)

Makeup Tips for the Dance Recital

Base

  • Having a base ensures that the dancer doesn't show any redness on stage
  • BB creams are perfect for littles and beginners for makeup. They reduce redness but they're not as heavy.
  • Foundation is recommended for older dancers who might need fuller coverage.

Face

  • Bronzers and blush help bring dimension back to the dancer's face as stage lights wash out facial features.
  • Highlighter helps accent the cheek and eyebrow bones.
  • Tip: you can use these as eyeshadows!

Setting Powder

  • Powders are amazing for covering any sweat or oil that is emphasized by stage lights and photography.
  • Use a powder with color to avoid flashback.

Setting Spray

  • Make sure to find a mattifying setting spray
  • Setting sprays help blend the makeup together and prolong the look.

Eyes

  • Mascara and eyeshadow can be so fun to play with for dancers!
  • Use your bronzers, blushes, and highlights as shadows for your eyes to avoid extra expenses!

Lips

  • Make it pop with some lipstick!
  • Try to avoid glossy lip products to prevent smudging on the face
  • Go towards darker and bolder colors to prevent being washed out.

Conclusion:

I hope that this helps your dancer prepare for the big day! Stay tuned for some more excellent Dance Recital tips next week, and until then, check out our other Knowledge Blog posts!

International Dance Day Songbirds

Celebrating International Dance

, , , ,

It’s easy to focus on our favorite dance styles, especially for current students of ballet, hip-hop, and other classroom dance education. However, we all know that dance has evolved and changed with humanity for eons – the first recorded history of dance is from over 4,000 years ago! In honor of International Dance Day this Saturday, May 29th, let’s take a moment and enjoy some quality videos and information celebrating how far we’ve come with dance!

 

All resources in this Knowledge Blog have been pulled from KET Education, an amazing resource for educational and archival material. I’ve curated my favorite videos, but please explore their site further!

 

West African Dance

Africa has an incredibly rich culture of dance and music, the two of which are forever intertwined. Dance blends and connects social conversation, religion, ceremony, celebration, and fun in Africa. Check out this video of an instructor teaching some basic West African Dance moves!

 

Salsa

Everyone loves a good Salsa! From swing dance groups to Latin, Salsa has always been a hit. Check out this video to learn the basic Salsa pattern and incorporate it into your routines! As mentioned in the video, Salsa is based around a musical repeating phrase, the clave. Salsa is a great way to hone your rhythmic skills as well!

 

Appalachian Dance

Folk dance (and music) from the Appalachian area of the United States has always been at risk of being lost to time. Check out this video that does an excellent job preserving it – you may recognize some moves!

 

Jamaica Funk

Truly an international dance, Jamaican tap, like in the video, is a blend of European and African styles. Students of modern tap will recognize similar techniques that carry over from this style! Check it out in this video!

 

Irish Dance

Everyone loves some good Irish Dance! One of my favorite parts of living in Pittsburgh was attending the annual Pittsburgh Irish Festival – an excellent time to view international dance, music, and cuisine. This video demonstrates some traditional Irish Dancing and accompaniment.

 

Navajo Shaker Dance

The Navajo people are the second largest indigenous group in the United States and inhabit modern-day Utah, New Mexico, and Arizona. They have a rich culture that is permanently linked to dance. This video shows a traditional dance from their Fire Dance Ceremony.

 

Bharathanatyam Dance

Moving across the world of international dance, India has a vast archive of traditional dances. The style showcased in this video includes all major aspects of Indian classical dance, especially facial acting, narration, and postures. Watch the hands for a lot of key moves!

 

Chinese Sword Dance

Like other international dance cultures, China’s roots in dance are linked to its other forms of expression. In this case, Tai Chi and martial arts fluidly mix with dance to create the Chinese Sword Dance. Tai Chi is a soft, defensive martial art that also focuses on meditation. It is practiced by over 300 million people worldwide! Check it out here!

 

Conclusion:

I hope that you learned something new from these resource videos and gained some inspiration for your next routine! Happy International Dance Day – be sure to thank the dance teachers in your life! Stay tuned for our next installment of the Knowledge Blog, and until then, keep practicing!

Pivot Percussion Pedal Review

Pivot Percussion – A Review

, , , , , , , , ,

What feels like 403 years ago, the world was plunged into distress with the onset of the Covid-19 pandemic. We don’t need to relive the panic and hardship. However, it’s worth mentioning that musicians and the performance industry were hit extremely hard. Bars, restaurants, and venues closed. Overnight, singing became one of the most transmissible and dangerous pastimes. Gigs and performance opportunities are slowly coming back, but the landscape has been forever changed by Covid-19. Venues that used to regularly hire full bands and groups can now only afford to support solo players and duos.

 

Act I: The Problem.

Without his trusty band behind him, the hero of our story, Shaun, felt the need to augment his performance. He plays guitar and sings, but there wasn’t enough punch or low end to his show. One night, he saw a fellow musician play guitar and stomp on a suitcase that had an SM58 microphone stuck inside. The sound was unreliable and muddy, and the singer’s constant motion looked exhausting. But the idea was sparked. Shaun knew that he could take this concept and turn it into something incredible.

 

Intermission: Testing, Testing, Testing.

Shaun developed “The Lab”, a specialty workshop on his property for creating, testing, and prototyping what would one day become Pivot Percussion. I was fortunate enough to gig with him frequently as a duo during this development period, and there was a new model under our feet nearly every week. From the beginning, Shaun had nailed the ergonomic and comfortable nature of the pedals, but there was still work to be done with the perfect tone and sound. With what is now unique patented technology, Shaun created the Pivot Capsules. These are modular cores that can be swapped in and out of the pedals to make different sounds. Whether it’s a punchy bass drum, a sizzly shaker, or a snappy maraca, we were able to completely customize our show.

 

Act II: The Solution.

Enter, YOU. It’s time for the audience to try out Pivot. These one-of-a-kind instruments are now launched to the world and for sale at pivotpercussion.com. There will also be some at Songbirds very soon! Here’s an honest review of Pivot and what it can do for your performances:

 

The Review:

I absolutely love my Pivot pedals. There are other percussion instruments on the market, but Pivot fills a much-needed void. The pedals themselves are beautiful and nearly indestructible, plus there’s peace of mind knowing that the heart of the technology, the capsules, are easily replaceable if something were to go wrong. Here are my specific pros and cons after playing the pedals from their inception to launch:

 

Pros:

Passive components. I LOVE the fact that the Pivots don’t require external power or batteries. They’re just like a guitar – plug and play. I’m fortunate enough to know a little about how they’re wired on the inside, and I can say with confidence that the patented technology is extremely robust. Shaun said from the beginning that he wanted to be able to run them over with a van and they could keep playing. I’m confident that would be possible. (No Pivots were harmed in the making of this review.)

Impact reactive. Pivot pedals are all analog, meaning they don’t work like a digital trigger. With competitor percussion devices, the sound is constant no matter how hard you play. Pivots are a real instrument – the sound and attack changes the harder you stomp. You can also get interesting and varied results based on your footwear. This makes the Pivots much more musical and organic.

Incredible sound quality. Shaun nailed each of the capsules and their sound signatures. Pivot pedals sound massive and present through PAs and powered speakers right out of the box. Very little (if any) tweaking is needed on the speaker to make the Pivots sound their best.

Eco-friendly. Each Pivot pedal is made with locally-sourced, reclaimed lumber. This includes trees that were lost during hurricanes and storms. Instead of destroying wood in a landfill, Shaun turns fallen trees into musical works of art.

Locally owned and operated. Pivot Percussion is based out of Longwood, Florida. Each pedal is handmade and inspected.

Great customer support. Shaun stands by each pedal and is quick to offer support and replacements if needed.

Unique builds with customization. Because Pivots are made of real lumber, no two pedals look alike. Shaun makes some incredibly attractive Pivots that showcase natural woodgrain and the beauty of the tree. There are also customization options available. I was given a prototype pedal that has my face on it!

Super comfy. This is the kicker (pun intended): you really can play for hours without getting tired. The design of the Original Pivot works perfectly with the flow of the leg and the knee. Using your heel to stomp prevents any shin pain or muscle fatigue, and the padding of the Pivot plus your footwear prevents any soreness in the heel. You can literally stand on the Original Pivots while playing them if you prefer to stand while performing. The Standard Pivots are great for playing piano or a minimalistic drumset. It’s worth mentioning that the Standards can be played with both the heel and the toe for maximum comfort.

Extra goodies. Shaun offers quality Pivot cables, cases, and straps for the instruments. It’s nice when companies go the extra mile. Everyone knows Sweetwater for the candy that they throw in every order – Pivot’s attention to detail with bonus goodies is even better.

 

Cons:

Difficult to master at first. I won’t sugarcoat this – Pivot pedals take a lot of time to get the hang of and master. I’m admittedly not the most coordinated person, but playing guitar, singing, AND stomping your feet on rhythm is challenging. I started incorporating Pivots into my performance gradually. Once you get over the first coordination hurdle, they do start to feel natural and second nature. Most of us tap our feet while playing anyway; the mental obstacle isn’t there, but the physical one takes some time.

Lots of options. This is both a Pro and a Con: there are a lot of customization options with the Pivot sound! There are three standard options with capsules: kick, maraca, and shaker. Combine this with using two pedals at once, and there are A LOT of possible combinations to take your playing to the next level. I use my Pivot pedals with a looper, and it’s easy to get lost in the possibilities and overcomplicating your performance. I started incorporating just the kick capsule with one pedal until I felt confident enough to expand.

Need a good sound system. This likely isn’t an issue, but Pivots sound the best when played through a nice powered speaker or PA. Pivots are targeted towards the professional, working musician who likely has a quality system already, so I don’t expect that this would be a hindrance to anyone purchasing a Pivot pedal.

 

Conclusion:

We are incredibly proud of Shaun and excited about the launch of Pivot Percussion! Come check them out at Songbirds, and ask Justin when you can see them in action at a local gig. Until next time, keep practicing, and check out our other posts on the Knowledge Blog!



Practice Tips for Performance

How to Really Practice

, , , , , , , ,

This upcoming weekend, our student Rock Bands will be performing at one of the biggest local festivals that occurs each year. In light of that, I thought it’d be a good idea to go over some tips for preparing for your next big performance, audition, or show! This information is geared towards musicians, but dancers and other performing artists may find it helpful as well. These tips apply most appropriately for live music – stay tuned if you’re looking for tips on how to record successfully. On to the info!

 

1. Accessories and Backups

No matter what you’re playing or performing, your instrument or equipment will need accessories of some kind. That may be reeds for a clarinet, slide oil for a trombone, picks for a guitar, or rosin for a bow. The night before you perform, check that you have everything packed and that it’s ready to go. Always bring as many backups as possible – you’ll never need them if you have them, but that one time that you only have one set of guitar strings will be that one time that they break during a show. Being prepared with all of your gear will give you extra peace of mind and will help you focus on having fun for your performance.

 

2. Tuning

It may seem obvious, but it’s super easy to overlook tuning. Tune your instrument before you play, and double-check that tuning before you go on stage! Singers should warm up gently without overdoing it. If you are playing in a climate with humidity and temperature fluctuation, like outdoors in summer, you’ll need to check your tuning more frequently. It’s a good idea to go the extra mile and have your instrument serviced by a professional repair technician in between shows. It may need some TLC to get it playing optimally. The worst feeling is playing an instrument that fights against you.

 

3. Silly Things

Double check all of the silly things that often get overlooked. Is your guitar plugged in? Is the amp volume set appropriately? Are the PA speakers on? Did you tighten your bow? Is your reed set correctly on the mouthpiece? When something goes wrong at a performance, it’s almost always due to something silly and minor. The amount of times that I’ve forgotten to plug in a cable…

 

4. Take it Seriously, but Don’t.

Performing should always make you a tiny bit nervous. This doesn’t mean that earthshaking, panic-inducing stage fright that we feel the first time that we try something new – this means that little tingle of nerves that mean we care. Taking your performance seriously helps you focus and play your best, but remember that the Arts are meant to be shared and enjoyed. We aren’t saving lives and the stakes aren’t high when we play. Just have fun, play, and take it seriously (a little bit).

 

5. Control Your Body

With any kind of performance, your body is either your instrument or an extension of your instrument. The best thing that you can do is breathe slowly, deeply, and with steady rhythm. Deep breathing tricks your body into feeling calm and safe. On the other hand, fast, shallow, and arhythmic breathing starts a panic reflex in the body. This then snowballs into an adrenaline rush, or the fight/flight/freeze response that you often hear so much about. If you’ve ever had sweaty palms, increased heart rate, or dizziness before going on stage, you’ve had your panic reflex well underway. Before performing, take purposeful time to breathe and slow down. Try inhaling through your nose and exhaling through your mouth on an “s” or “z” sound. This trick slows your air and offers gentle resistance to your airstream. You can also experiment with using a “power pose” – the most common is a shoulder-width stance with your hands on your hips and chest raised. An open position like this also tricks your body into slowing down and helps fight off stage fright.

 

6. Practice with Intention

Take time to practice well before your performance. The phrase “amateurs practice until they get it right, masters practice until they can’t get it wrong” is annoying, but accurate. Practice with intention and focus as much as possible, but don’t overdo it. It’s much more effective to practice in short increments frequently than one big chunk per day. Take breaks when needed, and make a point to be honest and focus on the sections that need the most work. It’s tempting to practice your performance all the way through, but the spots that need fixing will be glossed over and sloppy. Be like a bloodhound after a scent and target the tricky bits – if you can fix them, your entire performance will improve! Lastly, remember that good practicing takes time (a lot of time!). You probably won’t be able to prepare a new piece the day before a performance, so plan ahead.

 

I hope that your next performance is fun, awesome, and rewarding! Stay tuned for future installments of our Knowledge Blog, and in the meantime, keep practicing!

Locrian Mode How to Use

Locrian: How to Use the Final Mode

, , , , , , , ,

Locrian is our last musical mode, and by far the craziest one. If you’ve missed out on previous articles, check out all of the other modes here with Dorian, Lydian, Mixolydian, Phrygian, Ionian, and Aeolian. Our last mode, Locrian, isn’t extremely useful as it sounds dissonant and somewhat unmusical. It’s rare to see it in the wild, with the exception of metal and some progressive rock. Still, it’s important to learn about it, plus you can impress your friends with your complete knowledge of modes!

 

A Quick Review:

As with our other explorations with modes, we’ll use the key of C Major to learn about Locrian. The notes in C Major are:

 

C – D – E – F – G – A – B – C

 

You may remember that each mode is a mode of C, or the key that you are using. We can use the same notes of C Major but simply start on a different scale tone to get the mode that we’d like to use. Locrian forms when we use the above notes but start and end on B. Therefore, the B Locrian scale looks like this:

 

B – C – D – E – F – G – A – B

 

How to Form Locrian:

If you’re intent on using Locrian while performing and improvising, it’s unlikely that you’ll have the luxury of playing it only in relation to C Major. Locrian is more closely related to the minor scale than the major scale. Let’s take a look at B Natural Minor and compare it to B Locrian. B Natural Minor is:

 

B – C# – D – E  – F# – G – A – B

 

Looking at both this scale and B Locrian, we can see that the Locrian scale is just a Natural Minor Scale with the second and fifth note lowered one half-step, or flatted. Using numbers, Locrian would look like this in relation to the Natural Minor Scale:

 

1 – flat2 – 3 – 4 – flat5 – 6 – 7 – 1

 

If you’re insistent on thinking through modes using the template of a Major Scale, we must compare Locrian to the B Major Scale:

 

B – C# – D# – E – F# – G# – A# – B

 

This is where things get messy – there are a lot of alterations that we need to make in order to arrive at B Locrian. From the perspective of the Major Scale, we must flat, or lower, the second, third, fifth, sixth, and seventh notes. That looks like this:

 

1 – flat2 – flat3 – 4 – flat5 – flat6 – flat7 – 1

 

It’s a lot cleaner to think about Locrian in relation to the Natural Minor, as you can see!

 

Why is Locrian so Rare?

Frankly, to most people, Locrian sounds bad or wrong. This is mostly due to the flat five note in the scale. Western musical harmony relies heavily on the stability of the Perfect Fifth interval – it’s present in every Major and Minor chord. Most songs, especially in pop and rock, only use Major and Minor chords. Our ears are hardwired to hear that interval!

What’s more, the flatted fifth in Locrian forms a tritone. This is one of the most dissonant intervals in music and is responsible for forming the diminished chord. Locrian doesn’t have a Major or Minor chord as its root – it actually has a Diminished chord! It’s tricky, if not frequently impossible, to create a sense of musical resolution when home base is a Diminished chord. Musical harmony relies on a relationship of tension and release – how can we create that release when the very spot to which we are arriving is the most tense and dissonant sound of the scale? 

 

Conclusion:

Learning Locrian is important to round out your understanding of all of the musical modes, plus it’s a cool feather in your cap. Try to write a song or solo using Locrian and see what you come up with! It isn’t easy, but it can be done – maybe it will help you write the next big Metallica-esque solo!

In practice, the Musical Modes that are the most useful and intriguing to the ear are Dorian, Mixolydian, Aeolian, and Ionian. You’ll remember that Aeolian and Ionian are just the Minor and Major scales, so that only leaves two unique Modes to explore for most of your musical flavor. Phrygian and Lydian are beautiful and awesome, but they lie just a little bit outside of the realm of “normal” to be palatable to a lot of listeners. Locrian is in another world of its own. Have fun exploring all of the Musical Modes, and thanks for learning with us! Stay tuned for future editions of the Knowledge Blog, and in the meantime, check out our other posts!

Custom Guitar Pedals

What are the Most Important Guitar Pedals?

, , , , , , , , , ,

The wonderful world of guitar pedals and effects can be overwhelming. I remember buying my first pedal when I was in high school and never truly learning how to use it (or even what it did!) for years. The exciting reality is that guitar pedals allow us to transform our instrument into an amazing variety of sounds – the sky's the limit! Here are my recommendations for the most important types of guitar pedals to get you started, plus some of my favorites in each category. Don't forget that Songbirds stocks custom pedals that are clones of most of these circuits that are listed! Check out our shop, or contact Justin if you have an idea for a custom order.

Custom Guitar Pedals

1. Overdrive, Distortion, or Fuzz

This recommendation is especially true if you currently don’t have any guitar pedals. Start here if you’re brand new to the pedal world! Overdrive, Distortion, or Fuzz should be your most important pedal because they all make an incredible difference in your sound when activated. They open up your horizons and allow you to more authentically play rock, blues, metal, or any genre with crunch. The one that you choose is up to personal taste, but I recommend Overdrive for the most utility in different musical styles. Overdrive has less distortion and signal clipping, Distortion has a medium amount, and Fuzz has a lot!

My favorite overdrives are the DOD250, Klon Centaur, and EQD Speaker Cranker.

For distortion, I love the Proco RAT and EQD Acapulco Gold.

My favorite fuzzes are the original germanium Fuzz Face and the Devi-Ever Hyperion.

Songbirds has clones of ALL of these listed favorites in stock, plus they're custom! Come in and try them to see if you like how they sound.

2. Amp Simulator or Tone Shaping

Every guitarist needs a reliable “amp-in-a-box” pedal, especially for playing gigs and recording. You can skip this step if you ONLY play with an amplifier. However, the moment you start playing through a speaker, PA, or recording through an interface, you will notice the need for an Amp Simulator. Why is that? Guitar amps do a lot of heavy lifting with shaping the way that guitars sound. They boost the incoming guitar signal before the speaker makes it sing, plus they have great control over EQ, or how much bass, middle, and treble sound is in your signal. Most importantly, amps “warm up” the sound of the instrument by adding in natural breakup, or very light distortion, which we have come to expect when we hear a guitar.
An Amp Simulator pedal provides all of the perks of your guitar amp, in a conveniently smaller and much lighter package. This pedal should always go last in your signal chain before heading out to your speakers or interface. Treat it just like you would a real amp. Even acoustic guitarists need an Amp Simulator, especially because those instruments tend to sound tinny when plugged directly into a speaker.
If you are primarily recording through an interface, you can use virtual Amp Simulators in your Digital Audio Workstation. Having an EQ or Amp Simulator pedal may still help shape your sound at the source, which always expedites the recording and writing process.

The most famous utility amp simulator is the Joyo American Sound. This company also stocks a British Sound version. You can't beat the price!

More boutique amp simulator pedals offer a wider control over tone shaping and specific warmth. I play with a clone of a Dumble Overdrive Special that I made, but I also love a Fender Tweed simulator. Ask Songbirds if you'd like a custom amp sim pedal made for you!

3. Reverb or Delay

These circuits add dimension, space, and depth to your guitar’s sound. Reverb is more of an ambient wash that imitates the sound of a room when music is played in it. Imagine how your guitar would sound if you were to perform in a concrete stairwell, a warehouse, or a cathedral – that’s Reverb. Delay is more of an echo. This circuit briefly copies your incoming guitar signal, then spits out a copy at a delayed rate that you can control. Imagine shouting into a canyon or clapping in a cave or stadium – that’s Delay.
Most professional guitarists have both Reverb and Delay pedals (and use them together), but there is a fair amount of overlap in what they accomplish. I’m more of a Reverb guy myself, but it’s up to you to decide what you like best!

I always use an EQD Ghost Echo clone that I made at the end of my signal chain for excellent reverb.

For delay, you can't go wrong with the digital titan, the Boss DD-3. I personally prefer analog delays that have a bit of grit and warmth to their decay like the MXR Carbon Copy or the Madbean Cave Dweller (a mid-fi DIY project with amazing capability).

4. Something Unique

Now it’s time to have some fun! I recommend that your next pedal is something that is unique – something that makes you excited to play it (and maybe is a little wacky). Maybe it could be a Chorus for a seasick wash of sound, or maybe it could be an Autowah to make your guitar “speak” like a robot. You could be extra adventurous and try a Phaser or a Flanger for crazy out-of-this-world alien sounds, or you could experiment with a Bitcrusher for old-school video game sound effects. We are lucky to have some much technology at our fingertips, and with a bit of innovation, we are able to make our guitars sound like completely different instruments. Have fun, and just try stuff!

This is my favorite category of pedal, and I could make an entire book on recommendations. The Midfi Clarinot, Walrus Audio Julia, Parasit Studio Multiwave, Morley Autowah, and EQD Grand Orbiter are probably the five wacky pedals that I would take to a desert island, assuming it had power and lots of guitars.

Speaking of “just try stuff”, check out the JHS Show, one of my favorite channels for awesome guitar content!

Load More