Dear Dude,

I started playing guitar mainly because I heard Eddie Van Halen’s ‘Eruption’ and nearly creamed. The first songs I learned were Van Halen tunes, and within 3 months of playing I was already really good at copying Ed. Over time I learned tremolo picking, pull off’s, hammer on’s, legato, wah wah, and most recently sweep picking. Now that I write my own solo’s though, I seem not to utilize these techniques to their fullest extent, only using the most basic forms of them. For example, I have a chord progression that goes “minor chord, major chord, minor chord, major chord” and I play the respective sweeps an octave up, but compared to sweeping I hear in metal today, it sounds novice. This seems to be the problem with all of my solos; they have more melody than technicality. I look to guys like Dimebag, and hear him seem to go completely nuts, but still sounding in key, compared to when I let my fingers go crazy, its a mess. I know scale has a lot to do with it, but at high speeds, it’s a mess. Do you have any tips on how to better combine speed, technicality, and melody?

Thanks,

5150 Fan

Dear 5150 Fan,

There are a lot of us out there who heard Van Halen’s Eruption and fell in love with the guitar. Although I have never been able to have a sit down with the big man I know from just about every interview I have read that he wants you to be you so he can be him. So, I am truly stoked that you took your love for Eddie out of the cover band world and are trying to incorporate it into your own playing. I mean that is after all, the point right?  Anyway, here’s a hint, a lot of dudes struggle with this problem and even more importantly almost everyone struggles with incorporating new techniques and styles of others into their own at one point. Honestly, that struggle is part of the joy of playing an instrument. But for you, I have some proposed suggestions that might just push you along to writing some different types of solos.

Ok, no offense but playing the sweeps an octave up over the chord progression IS actually kind of amateur compared to the types of sweep picking that’s out there. If you want your solos to have sweeping and shredding for flash value, well then you are going to have to step your game up. But if you are sweeping those octaves up for some melodic purpose it could all work. It’s all about your intentions as an artist and from the sound of it you’re trying to intentionally write intricate shredding parts. So the first thing I suggest you do is make a list of maybe 10 solos you think sound the way you want your solos to sound. I know they’re out there and a few may be VH solos, but the trick is finding solos of other artists who have a VH vibe but are still different. For example, Michael Schechter, Dimebag Darrel, Zakk Wylde, Steve Vai, Joe Satriani, and Randy Rhodes are a few. You can hear a little of Eddie’s style (or at least similar moves) in all of their playing. But, the above guitarists rarely sweep arpeggios (I must mention Marty Friedman who doesn’t have a VH vibe at all but can sweep the fuck out of an arpeggio). That’s why I like to add a few newer artists. I suggest Alexi Laiho (Children of Bodom), Ben Weinman (Dillinger Escape Plan), Doc Coyle (God Forbid), and Douglas Sabolick (A Life Once Lost), to name a few. After you have your list go out and get the tab for those songs (I use guitar pro or power tab and just goggle the song name or the artist, its free). After you have the tabs for your top 10 then you have one more step, listen. Go note for note with those solos and study how they work. Listen to how the rest of the music changes under and around the solo. The key here is to study the way other guitarists move ideas into their playing. I promise you learn a run or two here and there and it will lead you to something new, it always does for me.

Suggestion two, this one is a bit easier but involves you being able to record yourself. A good way for me to come up with solo or run ideas is to sketch them out first so that I can find something I sort of like and then take the time I need to develop it. A lot of times I record many different versions of riffs that are played just terribly. The idea is that if I find something I like I can go back later and work out each note when I have the time. It’s sort of like sketching out a painting before you go in and paint it all. I start by building a drum loop, you can use any program you want or just use a click track (although the vibe is all gone for me unless there is the sound of a kit). Take that beat and record your rhythm track or just a chord progression (it can be any progression, just make it up, THAT’S THE EXERCISE). Once you laid down that progression try improvising a few times over and over. Once you hear a theme, rhythm, or voice you like stop and repeat until you get the idea clear. Sounds crazy but it does help me think of new ideas. Most importantly I think it’s a good way to add the feel and sound of improve. Most of Eddie’s solos were made up on the spot one or two takes according to most everything I have read. It’s that kind of feel you want to add to your solos too. So experiment with sketching the solos out a bit that way you can do more then just copy the arpeggios an octave up because you have to time to figure out all the note choices.

Whenever I have been confronted with this type of situation I have always looked to one of these two techniques to get me by. Studying other guitarists and the way their solos sound is key learning how to open up your playing. Improvisation is your best friend when it comes to learning how to break the rules you set on your self. As I said in the beginning you got to be you, if you keep studying what other dudes are doing and pushing yourself to try new things, it wont be long till you find your own little combination of sounds. Then your not to far from your name coming up on a list of guitar players to goggle!

The Dude  

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Dear Dude,

I am the screamer in my Metalcore band. According to everyone that hears the band live, my vocals sound amazing (I’m working on my Darkest Hour-style screaming). But, when we go to record our stuff in our home studio, I just can’t seem to replicate the sound. I mean, the studio recording doesn’t sound bad, but it’s not as good as it can be. I need it to be the best it can be when we record our demo in a professional studio. How can I work on this? Do you have any tips? Thanks Dude!

Thanks 

Screamer With a Vengeance

Dear Screamer With a Vengeance,

Metal style singing (or as most refer to it, screaming) can be very hard to master. Now, to the untrained ear metal singing might seem just like thoughtless yelling, shit I wish I could tell you all the times some idiot told me the singing in my band was just noise. If you don’t get metal you don’t get it, simple. But, to the countless metal/hardcore/punk fans out there this style of singing or screaming moves them like no other.

Lets get this out of the way, I really can’t sing but I have had the lucky fortune of hanging and working with some of the sickest singers in punk/metal/metalcore today. So drawing from this and my 15 or so year love affair with this style of singing I will give you my thoughts.

It sounds good live why doesn’t it sound the same recorded?

Ok there are a lot of things that could factor into why you don’t think it sounds the same live as it does on the recording. I mean lets first look at who is telling you it sounds good. I mean who are they? Where are they standing the room? How loud are the vocals in the mix? Are they distorting in the PA? Are the super compressed or have a ton of effects? The list could be endless. There is really no way to know what it sounds like live, well no way other then record it. Its always good to record your band live. Video or audio both is good. I know a lot of bands that NEVER watch video or listen to audio of their performances. It’s a shame you can learn a lot about your band, live show, and overall appearance by watching or listening to recordings of your band live. So try recording that live set and listening, because you need to KNOW what it sounds like not hear what others think it sounds like.

The Home Studio.

I know most bands that are just starting out don’t have the capabilities, money, or time to record themselves live. So the second best option is to record at home or at the practice space. Recording yourself is great practice and is something that every band should get into. Just remember that the style and quality of the mic and recording gear you’re using will affect the overall sound. Make sure you’re recording with a microphone that isn’t clipping (or distorting). It’s ok to add distortion when you want the desired effect, but if you want to know what your voice sounds like you have to hear it clean. Make sure you’re not moving it around and make sure you’re singing into the microphone in a consistent manner (I usually never let a vocalist hold the microphone in his or her hands. Putting the microphone on a stand gives you the ability to record with more clarity and less noise).

Ah compression!

Other then reverb or delay the main effect that most metal vocalists use on their vocals is called compression. Basically it flattens (or compresses) your voice making it sound more even and consistent (it also can add gain or distortion both of which work well in the context of metal vocals). If you had any kind of decent soundman live your vocals would have been compressed. If you’re recording at home and using no compression then they will sound very, very different. So mess around with the compression offered in all those recording programs you’re, using it will make a big difference in the overall sound on your demos.

Oh shit did I mention practice?

Oh yeah, you want to know the real simple answer to your question, practice. That’s how you’re going to get ready for this recording. You’re already on the right track recording yourself and laying down demos. But if you want this recording to be sick, well then your going to have to practice your ass off. When go time comes all you want to worry about is nailing the take the way you want it. Now practicing metal vocals is hard. I know a lot of dudes who practice with a stereo turned up real loud in the next room. I mean there has been at least two instances in my life when cops were called because someone heard vocals they thought where screams of pain! And I know a lot of singers who spend time after practice using the practice space to sing with headphones on. Look its gong to be embarrassing when some people hear you just screaming your ass off to no music. But who gives a fuck? I think there are too many metal singers that are afraid to own the instrument the way they should. I mean shit do you love metal? Well then fuck it you’re a metal singer so what if it seems crazy to the rest of the world that you scream. I get it, everyone who loves metal, we get it, so sing on and practice hard.

In the end vocals are just another instrument and that means you have to look at them as one. It takes hard work, determination, and more hard work to make them sick. So get in your home studio, practice space, bathroom or wherever else you can scream and start working. Forget about what people say it sounds like live and worry about what you know it sounds like now. Think about it the John Henrys, Thomas Lindbergs, James Hetfields, and Ozzy Osborne all started singing at some point and probably faced the same hang ups and problems you are. I am confident if you take the time to work and experiment with your metal singing you will find that unique voice that’s all your own.

The Dude 

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Dear Dude,

Muchas gracias for all the solids you’ve been doing to the aspiring shredders, I have been a big fan for a while now. My question is somewhat depressing. Basically I’m wondering when it’s time to give up on the dreams of rock? I’ve been putting all of my eggs in the metal basket for the past 10-12 years and nothing has ever really gotten going on. I’ve been in decent bands that broke up early, auditioned for touring bands but never got the gig, and I’m still never done even that one show I can look back on and be real proud of. I’ve sort of seen how most dudes have that initial bit of metal success from at like 20 years old, and at this point I’m breaking thirties door down-it’s hard cause it seems like everyone around me has gotten to do some awesome tour, or went some cool places, played with some good bands, drank some free beers, hooked up some with girls, or anything like that. I have nothing to show for any of my work except some unsold shirts and demo tapes from bands that broke up prematurely. At this point I’m basically a 30-year-old college dropout, with no skills or future prospects to speak minus my epic failing attempt at rock. Should I keep trying, or is it time to permanently shift gears into being a “fan” instead of “aspiring rocker?”

Thanks,

Too Old To Rock?

Dear Too Old To Rock,

Feel like your age is a fuse in the time bomb that’s your life? Guess what, I do too. In fact almost everyone I know who rocks for a living feels that way. So, rest assured you’re not alone and these feelings you have are not uncommon. It may even surprise you that many fellow dudes who are in some of the biggest/hottest metal core, metal, punk, hardcore, bands feel the same way as you. Look, my answer to the big question is, “Dude come on you know you’re never to old to rock!” But I know you all are going to think its just not that simple, so let me throw a few thoughts your way.

Musicians Best Friend: Perspective:

It’s a no brainier that in life to be successful you need to keep your perspective. The same holds true for music. You need to stop thinking about success in only one way. From your letter it appears that you define success as doing some awesome tours, going to cool places, playing with awesome bands, and fucking groupies. In the same letter you refer to your demos and unsold T-shirts in a way that implies failure. Dude, do you know how hard it is to get songs together and record one demo, let alone a few? It takes work, and it is an accomplishment. Besides being a tool to tour, party, and fuck chicks music is about artistic creation, artistic progression, and most of all (yeah MOST OF ALL) artistic expression. Did you express emotion, push yourself creatively, struggle to work those songs out, and beat yourself up while you recorded it? Chances are you did at least a little and that my friend IS success. There are plenty of people in the music world that look at Darkest Hour as a failure and some people that look at it as a huge success. But it’s all bullshit, look the grass is always greener. It’s a cliche expression but guess why; it’s totally true. Almost every band I know wants to be as big or as successful as some other band. It never ends. It can drive you and your band to insanity. That’s why no matter where you are in your musical career, be it the beginning or knee deep in the middle, you always have to keep some perspective in your back pocket. Trust me, looking at things in a different way is the first step to taking you somewhere new.

Define Those Goals:

Damn does some of this shit sound like school? Well, it’s because a lot of those same skills taught in school can ACTUALLY help you in real life! As with anything in life to be successful you have to define your goals. So you have presented me with, “do some awesome tour, go some cool places, play with some good bands, drink some free beers, and hook up some with girls.” Let me redefine those for you, how about, “record a new demo of your most killer material (spend more time and work as hard as you can), get a few local shows to work out the band live, and finally secure one national tour or record deal.” It may seem really vague but you got to start somewhere. Its obvious you want to tour, see the world, party a little, and live the life. Sure that’s actually an honest goal. But, the touring is the medium in which you present the tunes, if the tunes don’t connect with people your never going to gain fans, so touring is pretty much pointless. Define those goals because knowing what you want to do is the first step in actually doing anything.

I mean how hard are you working, really?

I understand as you get older life takes over. You have to get some kind of job, support yourself in someway, and hey just act like a fucking adult… I mean you are one. But that doesn’t mean you can’t find time to practice and continue to grow as a musician. Those demos you’re talking about could be the sickest shit ever or just fucking terrible. But either way your old enough now to realize that you can always get better, always grow, always adapt. You have to ask yourself, how much time do I spend trying to develop my musical ability? If the answer is actually only a few times a week, then dude you need to try harder. Yeah, sounds like stupid advice, but think about it, the more you practice the better you’ll get. The better you get, the better your chances of fulfilling any of the above goals (well, maybe not the whole groupies thing). I am a firm believer that music gets better with practice and it is of course that one constant that will always help you.

Persistence, guess what this shit sucks?

Ever read the lyrics to AC/DC’s “It’s a Long Way to the Top (if you want to rock and roll)”. Well, I think every dude that goes on tour should. Here is the real truth, there is no guarantee that if you try EVERYTHING you will get to be a big ass rock star. The reality is that being in a band sucks a lot of the time. It doesn’t have to, but it’s just the nature of most musicians to be miserable. So, you have to be persistent, become a hunter, or my favorite expression “be the ball!” Yeah its from the movie ‘Caddyshack’ but it just means become one with your goals and aspirations, become one with the universe, or simply fucking keep trying.

Perpetual Motion: What new have you tried this week?

You have to always be trying, searching, and reaching. If you want to make things work you have be willing to try. And if you’re willing to try you also have to be willing to fail. The question posed is, what new things have you tried this week? Some of the best advice ever given to me on guitar was to learn something new every day. This can also be applied to your career, so keep trying new things, new avenues, and new directions. Because if you’re doing that new doors will always open for you.

Mick Mars and Huey Lewis:

What do Mick Mars from Motley Crue and Huey Lewis have in common? They both started their careers at somewhat older ages. Mick Mars was 30 years old when he reinvented himself and joined Motley Crue. Huey Lewis, also a late bloomer found success much later in his life then the average rocker. If it can happen for them it can happen for you. So keep trying, work hard, keep perspective, and remember it’s all about the tunes!

The Dude

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That’s right first Washburn and now Randall. Recently, I took some time to hang with Jody and the good dudes of Randall Amplifiers while at Darkest Hour’s House of Blues show in Chicago. In this installment of Randall TV I go over the main features as well as little known secretes of the Randall MTS head, talk about my new love for the duel effects loop, and take some time to walk through the pedal board set up I’m currently running. If you see the Randall MTS in a music store try it out! But until you get a chance to hear how sick the MTS sounds check out the episode.

The Dude

Yeah, we’re stoked. We just got the band classifieds section up. Tired of shredding your life away in the basement by yourself? Want to kick out that lead singer but don’t know where to look for a replacement? Need that perfect guitarist to start your Van Halen tribute band? Any of these questions sound like your life? If so, then we’ve created a place for you to look for some solutions. Here you can start that search for the last piece of your rock puzzle by posting a classified add. Musicians of all genres are encouraged to post in the name of free exchange. When good dudes meet up, rock can’t be stopped!

So post at will if even one band or dude is helped then the ask the dude band classified experiment will be a success.

Tour is a crazy ride sometimes. Be back soon with new letters.

The Dude

Thrash and Burn Tour dates:

8/22 - San Antonio, TX @ White Rabbit

8/23 - Houston, TX @ Java Jazz Outdoors

8/24 - Dallas, TX @ House of Blues

8/25 - El Paso, TX @ Club 101

8/26 - Phoenix, AZ @ Marquee Theatre

8/27 - Los Angeles, CA @ House of Blues

8/28 - San Diego, CA @ Soma

8/29 - Bakersfield, CA @ The Dome

8/30 – San Bernadino, CA @ The Hudson Theatre

8/31 – San Francisco, CA @ The Grand

9/01 - Portland, OR @ The Hawthorne Theatre

9/02 - Spokane, WA @ The Big Easy

Yo Dudes,

Check out the next installment of Revolver Magazine’s, “Thrash and Burn Online Blog” written by yours truly. Tour is a crazy ride no matter what size band your in. Check out the online Blog and read about all the carnage. Two more weeks, see ya in the pit!

The Dude

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Dear Dude,

I have been playing in a Speed/Death Metal band that is signed and tours nationally. Recently one of our members has been taking the back stage partying to a level that seems unhealthy. Now I know that partying and rocking go hand in hand but it just feels wrong. So I guess my question is, what is the best way to know your fellow band member has a problem? What are the warning sings? You know being in a band is hard because not only are you always around drugs, alcohol, and partying but you’re also expected to live the role. And following that question what is the most democratic way to confront a member with such a problem?

Thanks,
The Party Police

Dear Party Police,

Alcoholism, drug use, shit, the list of vices that threaten musicians are endless and go hand in hand with what some people believe is the role of or rock star. Living this false identity is a fast track to self destruction. I have seen some really stupid band and personal decisions made by musicians who are struggling and suffering with substance abuse problems. In my day I have done everything from drive a fellow musicians to the hospital so dehydrated they can’t stand to even at one point calling a dude’s mom! But to get you some real perspective I contacted a good old friend of mine who has lived that nightmare himself.

Infamous as much for their touring antics as their crazy-ass live show, anyone who knows anything about the evolution of Punk/Hardcore/Metal in the mid to late 90’s has at least heard of Burlington Vermont’s, Drowningman. And no one can speak better on this issue than lead singer Simon Brody. Simon took some time to write about his perspective as shaped by a dude who has, well to put it simply, been through it all!

Simon writes:

“Living the role? Hmmm. I’m assuming that your band-mate might not be in the financial position to afford blood transfusions from 12 year old Filipino boys ala Keith Richards nor is in a situation where he can send his personal man-servant to pump gas for him at the local Exxon station between tours.

A lot of people in bands start living like a “rock star” a little prematurely. It sounds to me like what you might be talking about is having an impact on his life outside the band. This is the point where I tell you very clearly that thinking in terms of what is or is not “democratic” is not the way to go about this. You have to approach this person with concern for him as a dude. If it’s fucking with his ability to function, you or whoever is closest to him need to sit him down and express your concern for him as a friend and not make him feel like he is under attack.

If you are just concerned with him because he is your band mate and how he is playing and how it reflects on your band you’d probably be better off playing with someone else. Mike has said more than a few times on this site a band should be approached like a family.

People that make the best music or art are often hurting dudes inside. When my band broke up, I was unable to see how fucked up my behavior had gotten and all I was hearing was about how the business side of things were getting fucked up. What I really needed to hear was that the guys in my band were worried about me and cared about me as a person but by then I had made myself pretty difficult to have a rational conversation with.

I’m just saying how it was for me hoping that someone doesn’t have to make the same mistakes. I’m pretty proud of what I did when I was making music. I was a pretty angry person and the music Drowningman made showed that pretty clearly. It just got to the point where I was getting too drunk and high to play, because I was happy or because I was sad and sometimes just because I couldn’t think of anything better to do. Eventually that anger and energy got replaced by numbness most nights. I forgot who I was and I paid for it.

Showing your dude you care about him is the first step. Help him out, talk to him, maybe he needs more help than you can give him in which case you might need to see that he gets more serious help but do it with compassion and kindness.”

Simon’s advice comes from the heart and should be headed. Oftentimes dealing with band members or fellow musicians who have drug or alcohol abuse problems can be an uphill battle. You have to dismiss your fear of confronting said band member. Its not gong to be easy, they are probably going to react negatively at first and its going to take a bit of compassion, kindness, understanding, and whole shit load of patience. Don’t let your love for the band, or drive to make your band successful, cloud your ability to see if your band members need help.

Here is a brief list of symptoms you might observe if your dude has a problem. Keep in mind this is not a definitive list, alcoholism and drug use is a complex problem. This list of symptoms is also a good way to check yourself. Ask yourself? Do you have any of these tendencies? If so, do you have the ability to self regulate and change these patters?

Signs and Symptoms of potential drug or drinking problems:

- Continuing to drink even though you have health problems that are affected or caused by your drinking.

- Band member is caught driving while under the influence (DUI), or engaging in similar risky behavior without being caught.

- Missing band practice or shows, or showing up late due to alcohol or drug use.

- Feeling annoyed when other people comment on, or criticize your drinking habits.

- Continuously scheduling your day around drinking or drug use.

- Band member exhibits strong and overwhelming desire to drink alcohol at a specific time or even the next morning.

- Creating a ritual of having drinks before, with, or after playing and becoming annoyed when this pattern is disturbed or questioned.

- A tendency to drink more than intended to feel the same effect, or being unable to stop drinking once you start to drink alcohol.

- Consuming a large quantity of alcohol without appearing intoxicated.

- Not remembering conversations or commitments; sometimes referred to as a “blackout.”

- Losing interest in activities and hobbies that were once pleasurable.

- Focusing all recreational activities around obtaining alcohol, drinking or recovering from alcohol use.

- Drinking alone or in secret.

The following questions taken from www.helpguide.org are a good way to help give you perspective on this. I have reprinted the info here but feel free to check out the site. Other really good resources are the National Institute on Alcohol Abuse and Alcoholism or the National Institute on Drug Abuse.

Would you or your fellow band member answer yes to one ore more of the following questions in the past 12 months?

- Have you, more than once, driven a vehicle while you were drinking, or after having had too much to drink?

- Have you gotten into situations while drinking, or after drinking, that increased your chances of getting hurt—like swimming, using machinery, walking in a dangerous area, or near heavy traffic?

- Have you continued to drink even though you knew it was causing you trouble with your family or friends?

- Have you gotten into physical fights while drinking, or right after drinking?

- Have you gotten arrested, been held at a police station, or had any other legal problems because of your drinking?

Would you answer yes to three or more of the following questions during the past 12 months?

- Have you had times when you ended up drinking more than you meant to, or kept on drinking for longer than you intended?

- Have you, more than once, wanted to, or tried to stop or cut down on your drinking but found you couldn’t?

- Have you found that you have to drink much more than you once did to get the effect you want, or that your usual number of drinks has much less effect on you than it once did?

- When the effects of alcohol are wearing off, have you had trouble sleeping, or experienced physical symptoms such as shaking, feeling nervous, nauseous, restless, sweating or rapid heartbeat? Have you sensed things that aren’t really there, felt bugs crawling on your skin, or had seizures?

- Have you taken a drink or used any drug or medicine (other than over-the-counter pain relievers) to avoid having bad after-effects of drinking, or to get over an after-effect of alcohol use, or hangover?

- Have you continued to drink even though you knew it was making you feel depressed or anxious, causing a health problem or making one worse, or has caused a blackout?

- Have you had a period when you spent a lot of time drinking, being sick, or getting over the negative after-effects of drinking?

- In order to drink, have you given up, or cut down on activities that were important to you, interesting or pleasurable?

Look, sometimes you maybe forced to cancel shows or even tours dealing with problems like this. It’s just important to keep things in perspective. Getting your band popular, selling records, pushing those CD’s, trying to build that band to get on the tours you want, trying to pull yourself and band out of debt, trying to fuck that super model, etc. All these goals are never more important then the health and the well being of your fellow band members. Don’t get so caught up in the game that you live with blinders on. Musicians are people first and entertainers second. Record labels, booking agents, managers, promoters, and even fans all have things they depend on or demand from bands and their members. The only people that have the perspective to be able to understand us fellow musicians are, other musicians. So it’s up to all of us as brothers and sisters of life on the road to look after each other and keep our friends in check.

The Dude

The first installment of Washburn TV featuring yours truly can be viewed at the Washburn TV You Tube page. The good people at Washburn Guitars came down to our Chicago, IL date with At the Gates to film some footage, do a short interview, and party down. Lets just say we got all three taken care of! 

The Dude

Dear Dude,

I have been playing in a recently signed full time touring band since April and recently thought of quitting. This was due to not making any money, having rough things going on at home, gear messing up…etc. Pretty much the standard rigors of touring. All the other dudes in the band have been playing together since they were sixteen and the reason I was chosen to play with them is because I was a close friend and could tour and handle the material. Their guitarist that I replaced can’t tour and has a college career, but still is friends with all of the guys and writes the majority of the material in the band. As a quick background on me, you should know I’ve been playing in about 3-4 bands over the last 7 years, mainly leaving bands because the people I’m in them with have drug problems, money issues, weird personalities. I’ve always moved on because I want this to be my career and with this band I thought I had finally found something that works. I brought them a Trailer, GPS, paid the van insurance since I joined, learned their songs quickly, rearranged my life and school (I go to college online now) and even moved closer so I could work with them. On the day that I said I didn’t know if I could do the band anymore, I had all of the normal tour problems plus they told me their old guitarist back home who is not touring will be recording their next record, so most likely the only money I would see from the band at all was the recording budget we didn’t use to be split up between band members and I wasn’t even going to see that. The other guitarist who is the unspoken leader of the band told me that it was a stupid move and I countered with that I could go play for other bands, because I’m a decent guitarist. I want to stay in THIS band though. He and the band took it as I was doing them a favor and taking what they gave me for granted. I stupidly then said that he doesn’t understand because he’s not the best guitar player and therefore couldn’t go to another band easily. BIG MISTAKE DUDE! So now he wants me out of the band and I’m pretty much stuck here on tour with them while they hate my guts. I didn’t mean it the way it was said, but it was still said regardless. Is there any way I can repair this band? Should I move on? I don’t want to lose friends most of all but cant help but feeling a bit screwed. And at the same time I feel like I shouldn’t have said such cruel things to my friends who gave me an opportunity. Help me dude!

Thanks,
Big Mistake?

Dear Big Mistake?,

Damn, shit can get hot on tour can’t it? Man if there is anyone who knows how to cut into you, it’s your band mates. Being in a band full time means you’re forced to deal with your band members full time. When you’re out there living on tour, grinding it out, you will learn all of your band mates’ weaknesses and neuroses. And although this dude is actually professionally trained in communication skills I still find myself in these types of situations all the time. Bands are like mini family units made of mostly brothers, and brothers do like to take the piss out of each other, and then some. With this in mind you will find yourself on both ends of some dirty comments. Its important to acknowledge that these things will happen and it’s also important to acknowledge that you may be at fault some of the time (how much, well that’s up to you). Its from the base of acknowledging that these altercations can and will happen that you must draw both patience and perspective in order to look at your problem in a way that will move you in a positive direction towards working things out.

Dude, you have yourself a bit of a mess. It sounds like the family structure of the band is all messed up. I have never seen a band have separate touring/writing members (some designated for touring others designated for only recording and writing) and do it successfully. That’s not to say it hasn’t happened, but in my 15 years or so of experience I have never seen it work, not once. Really the band needs to choose between you and the other member who is at home/college, but its obvious they have chosen that member over you, if they are planning on having that member write and record the next record anyway.

In this situation I think it’s in your best interest to bow out. You do have a history of flopping around bands so you should do some soul searching. Do you jump ship whenever it gets hard for bands? I mean all those “standard rigors of touring” are not going to change, they are constant and you will almost always be up against them in one form or another (shit it will probably get even worse!). Ask yourself, is there something about the way I interact with band members that has you jumping bands? You mention drugs and money which are always two ingredients needed to fuck a band up, so chances are you’re probably making the right move each time. It’s just always good to self check yourself. Is there something you can do in future that will make the inter-band dynamics better? You have to be able to ask yourself these questions as well as answer them if you’re hoping to grow as an artist, band member, and person.

It’s understanding (although not in your best interest) why you attacked your band mate (other guitarist) when he confronted you with the fact that the other member would be recording the record. Shit you could have been having the worst day on tour ever and then your boy drops this shit on you, it’s enough to make anyone say some dumb shit in defense. Of course it’s the dumb shit you said that will make it hard for you to see a return on the money you had invested in the band (IE trailer, GPS, etc).

Lets look at a more productive way to solve this problem. You need to communicate clearly! By the way your write this letter it reads like your on tour. Tour is the best place to resolve differences like this actually. It forces you and the other band members to interact as well as have to communicate, this means you have to at least find some sort of comfortable resolution so you can play shows night after night and not want to kill each other on stage. I would get the guitarist (unspoken leader) alone and speak with him one on one. You have to tell him that you understand that you made a mistake and shouldn’t have said you were not longer into the band. You should then apologize for saying that he was not a good enough guitarist. I mean this is petty but its good to acknowledge that you are sorry because right or wrong you definitely shouldn’t say shitty things to your dudes.

After you have apologized say that you understand your not working out in the band and that its clear they would rather work with the other guitarist who is not committed enough to the band to tour full time (that’s their loss). You have to convince him (the other guitarist) that the fair thing to do is at least compensate you for the time you have spent on tour and the other items you have purchased for the band. Now chances are there is no profit from tour, lets face it most of the time there just isn’t. This doesn’t however mean that the band should not pay you back for the trailer, GPS, and back insurance. Those are both separate business expenses that transcend the use of just one tour and therefore you should in all fairness be entitled to full reimbursement for these items. Tell the guitarist that you agree to fulfill any commitments that the band has already, you cant ask for your money back and then cut off their way to make money by leaving. Its really important that you stress that you care about what’s fair and that you care about making things right. I promise if you show you are willing to help them out by helping the band survive they will in turn reflect that by eventually paying you back. Oh did I mention it may take a bit of time to get money (especially for something as big as a trailer)? That’s ok, its just the nature how bands work financially, they are broke most the time.

After you have had your sit down with the (unspoken) leader of the band your going to have to talk to the other members. Again its good to talk to them when they are alone, each person acts differently to stuff like this so its good to have these type of conversations one on one. You need to reiterate to all the members that your not pissed, you are bummed you have to leave the band, but your going to man up have fun on what’s left of the tour and make sure they are taken care of so that they can take care of you.

Is there any way you can repair this band? Probably not, but its not impossible. I have seen bands bounce back from some pretty insane fights. One of the nice things about arguing like brother is that usually shit can be dropped or squashed easily. Most of the time band members grow thick skin to protect themselves and that’s kind of a must for tour life. But I think the real question is your second, Should I move on? In summery, yes I think you should move on. It just seems too unhealthy and unorganized. Its not worth putting all the time and effort to grow a band if your not writing, recording, or at least participating in the musical side of the bands life. In addition, you may be good friends with the band mates but its really not worth putting yourself through the emotional roller coaster of being in a band if they would still rather have someone else write and perform on the record.

Move on take your ambition and find a band that is ready to focus on touring, recording, and playing shows, that’s where all you and your band mates attention should be right now anyway. Good Luck out there.

The Dude

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Dear Dude,

I’m 19 and still pretty much a virgin to the music industry. I play in a punk rock band that I started a couple of months ago. Recently I insisted we start practicing with a metronome every time we jammed. Now we are starting to gig out and I am wondering if you think it is better to use a metronome live? How many professional touring bands have you seen play live to a metronome? And how would you go about it if you did decided to use a metronome live?

Thanks,
Tempo Tyrant

Dear Temp Tyrant,

Using a metronome (or click as I hear it more often referred to) should definitely be reserved for those ready to attend Advance Concert 501. And while it is both tricky and much harder to do then jamming without it, running a click live can give you some distinct advantages.

First, here is my two cents. I have never played in a band that used a click live. Yes, I have experimented with it but almost every time decided that it wasn’t right. The reason I don’t like the click live is for one main thing, control. See ideally the rhythm and tempo of a song should be controlled by the drummer, not a computer or click track. I mean the idea that a song shouldn’t shift tempo here and there is stupid. A lot of modern recordings are done to a click because it just easier all around, not because it necessarily sounds better. Regardless of my opinions, the click is really a useful tool and a lot of amazing drummers use it.

So, here’s the full story. The main reason why almost every professional touring band (I have observed) uses a click is to allow for the addition of samples and backing tracks. Using a click or metronome live is the only way to go if you’re going to be using keyboards, samples, loops, or backing tracks and using a click live will defiantly give your live performance a feel that is closer to your record (that is if you used a click on the record). The click is nice for keeping everyone from speeding up. It’s a common tendency amongst most metal bands to speed up in the middle of their songs so a click can keep everyone under control. This in turn allows the guitar players, bass player, and singer to perform their parts at the appropriate speed. This will hopefully make the overall sound of your band cleaner, and more produced sounding.

Here are some ways to run a click live:

iPOD IT: This is the easiest because it just involves your drummer needing only an iPOD. Your going to need to make an MP3 of the click tracks for every song. You can do that with just about any computer recording program (garage band, Pro Tools, Cake Walk, etc.). Make a playlist on the ipod in the order of the set, if you need to have tempo changes in a song make sure to map it out a head of time and give yourself count in clicks so you will always know where to start. The iPOD technique although cheap and easy is really only good for curing your drummers crazy tempo problems or just keeping the overall tempo of the band under control. If your going to use loops, backing tracks, and samples I suggest the next option.

DIGGI 002 it: On our last European tour the good dudes in As I lay Dying used a Dig Designs (DIGI 002) to run an entire Pro-tools session live during their show. The click is built into the session so along with the drummer being able to hear the click he or she is also given the ability to not only hear but see when the backing tracks and samples are going to happen. This technique also allows for the soundman to have a one designated signal for all these loops and tracks. Using a Pro Tools session like this gives you the piece of mind that the loops and backing tracks will always happen at the same time, same place, and the same way every time. This also allows for the drummer to not have to think about when and where samples will come in (as he or she would have to do if you used some kind of sample machine or other prerecorded sampler). This is not easy and takes time to perfect so if your going to go this rout you might want to make sure you try it out a few times before you try it live.

So what’s my advice for you Tempo Tyrant? Well you mentioned your band is, Punk Rock and now a days that can mean anything. I am going to have to say that unless your playing supper intricate fast punk (IE Propagahndi, Bad Religion etc) you will probably be better off performing live with out a click. Chances are your not going to be using backing tracks and loops, so running the click live will probably be more of a hassle then anything else. As a punk band your probably going to want to have the freedom to change the set list up on a dime and running the whole show to a click will definitely change how the overall set flows. Although I do not suggest you use it live, I do suggest you shred it out in the practice space to the click as much as you can. Running a click with band practice is an amazing way to get everyone in the band to feel the right tempos of the song. By practicing to the click your drummer (and band) will develop better overall natural timing and this will improve the overall sound of the band without making your drummer slave to the click!

The Dude

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