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Strong talk it may be, but frankly I don't see a reason to speak weakly. As to my civility, I did not insult you. I called your statement: for what is was—limiting, discouraging, ill-informed, poorly reasoned, trash. Taken to its logical conclusion, this statement would discourage a person...

Uh-Huh. The text of mine which you cite is a statement made to make clear that I am not "pointing fingers." Thus, why I avoided quoting any previous posts in this thread. I do not, will not, criticize people. I will however, criticize ideas. Also, in the same text, I make it clear that my post...

Thanks, Adam. Appreciate it. I would tell them, "Well, you're half right. You've either got the maturity and dedication to work for it, or you don't."

Clearing Up Misconceptions I'm going to go ahead and apologize for my tone ahead of time. I don't mean to sound personally dismissive. However, every time someone pops on this board asking about singing, they receive a bunch downright misled, ignorant ideas about vocal pedagogy. Somehow, these...

Here, here!

Good luck man. I've never read my handle with the space there, kinda funny.

Open Mics? How many singers do you have? If you have more than one, you can start playing out open mic gigs all over the country and promoting a web presence. I suppose if you only have one you'd be limited to that person's area. Can you record in the meantime? Then you could at least put...

That is what I gathered, and I don't doubt it. A huge part of voice training is learning the difference between how you sound to the audience, rather than to yourself. Its an awareness I wish I had. That said, that level of awareness is a tool to be used in practice, not an excuse not to. Tone...

Thanks, FB, now I have to say much less. The assertion that one cannot learn relative pitch, or that one should only get a teacher if they already have relative pitch, is downright ignorant nonsense. If one does not have relative pitch, its all the more reason to seek vocal lessons. I do not...

Tips from another fledging singer: 1. Find a teacher. You needn't find a local Pavaratti, but NOTHING WILL REPLACE ANOTHER PERSON LISTENING, EVALUATING, AND ADVISING YOU. I sang in the bedroom and car for 2-3 years before getting a teacher, and made such progress that I consider that to be the...

I liked Cats and Rats the least, and the a cappella version the best.

Hi All, To all you knowledgeable guitarists and builders: how significantly, and in what way, does a cutaway effect the sound of an acoustic guitar? I mean in the case of otherwise identical tone woods and specifications.

Hi All, If you want to start working as a studio musician for hire, how do you begin? Does one require a press kit of sorts? Cold call studios? --Sean

Thanks again all I went ahead and bought a Taylor 814ce last week. After playing many brands, models, tone woods, body shapes, I just found that the 814ce had the best volume, tone, and punch. I also really like the way she sounds plugged in. While I often hear folk-rockers getting a sound that...

Well firstly, with all due respect to ido, I disagree sharply with his (or her?) criticism of the third couplet. In fact, I think the slant rhyme breaks up the monotony of the surrounding pure rhymes, and accents the following couplet. Of course, that is entirely based on the way the lyrics...

In that case, could you suggest any great tunes that use this structure?

Regarding playing & singing: 1. Practicing both parts alone helps a great deal. Particularly when you're first learning to put the two together. As time goes on, your learning curve flattens out, and you learn new songs with less effort. Also, try playing the guitar part along with the song...

I will save you my echoes of what other posters have said about consistent practice. That said: There is no faster way to learn to play guitar (or any instrument) than through dedicated practice alongside the guidance of a qualified, knowledgeable, personable instructor, and the frequent...

Precisely what boggles my mind. The periods of constant touring/performing and periods of rest, that I can wrap my head around. Correct me if wrong, but those 200 performances don't require your doing 200 gigs worth of individual leg work, in terms of scheduling, etc. So, you find the venues...

The other I was doing a little reading, wound up on allmusic reading the bio on Ani Defranco. It mentions that she played 200 gigs annually. Mentally doing the math, I found that to be just shy of 4 gigs weekly. Besides the exhaustion prompted by this heavy a schedule, the sheer logistics of it...