FEATURE: Playing In A Band

 Electronic musicians will probably often see a smile crossing their lips at the following article, as it deals with an area in which advances in technology have enabled these same artists to cover all frequency ranges on their own with the help of DAWs etc. that are necessary for one entertaining audio performance needed. I still remember about 25 years ago, at the height of Eurodance, having dinner with the producer of a very successful German project and his friend, and that same friend asking me what I was doing musically. A short explanation on my part was followed by the phrase that would stay with me throughout my life: “Is that right with music?” It took several questions on my part to find out what he meant by this sentence and it was only after several minutes that I realized that the “colleague producer” could not imagine, apart from a few international superstars, making monetarily successful music in a classic band constellation. The charts back then still had meaning and actually proved him right. So the question is, do we still need a band these days to make meaningful music?

Why a band at all?

In order to understand the structure of a band, you have to jump back in time to see the development of the “band status”. Before the amplifier manufacturers began to emphasize guitarists and later also bassists in the late 1940s, both types of instruments had a sad existence within the big bands of their time. Back then, the volume of an instrument was based solely on its natural volume and in this segment no one had a chance against the brass. Even today, virtually all brass players in the orchestra pit are more or less deaf unless they have played with hearing protection.

The constant further development of amplifier technology made it possible in a relatively short time that a big band orchestra wall was no longer needed to fill a hall with sound, but rather a comparatively manageable number of musicians managed to develop a balanced sound across all frequencies, independent of the Hall or even stadium size. A significantly smaller number of musicians reached a significantly higher number of listeners, which caused sales and profit margins to skyrocket. Depending on the style of music, the quartet/quintet formation became established over the decades, especially in the rock/heavy sector, depending on whether you wanted to work with or without a keyboard player.

Each instrument was assigned a specific frequency range and both the limiting technology and the musical imagination ensured that there was no interference with each other in terms of frequency. The entire musical focus was on the search for personal style, the ultimate song and the constant struggle to raise the vocals above the volume of the other instruments without feedback, especially at live concerts. The principle “You Get What You See” was 100% true and only the Mellotron, with its pre-recorded tapes, was able to develop sounds live that could NOT be seen on stage.

Anyone who wanted to make music across all frequencies had to rely on fellow musicians who played the instruments that they didn't know how to play, or even if they could play the instruments, who took over in a live version of the song, unless they had a frequency or wanted to risk an arrangement hole. So far so good.

The invention of multi-track technology

The dependence on third parties changed massively with the introduction of multi-track technology. Not only could you repeat any solo passage as often as you wanted in a recording in order to optimize your personal performance, you were also able to record for the first time with an entire band if you had the appropriate technical skills. What was perceived on the one hand as a liberation for the composers/musicians, on the other hand, meant that the experience and craftsmanship of the musicians who specialized in their instrument were lost, which usually led to the detriment of the quality of the final product.

In order to compensate for this, instrument manufacturers developed more and more electronic instruments, which were aimed at making analog instruments and the musicians associated with them appear obsolete. The first to be hit were the drummers, who suffered massively, especially in the eighties, because their natural drum set was replaced by completely undynamic sounds, mostly programmed by people who knew as much about drumming as a woodpecker would throw from a knife. But the invention of the sampler also ensured that the keyboard player was the central point of contact in every studio, as he was the one whose instrument could most easily provide the necessary control voltage for AKAI and colleagues. Here too, as much as possible has been done to reduce the human factor within the music to an absolute minimum.

The social consequences of technology overkill

To get back to the original question of this article. Do you still need a band to make music these days? Technically speaking, absolutely not. The industry now offers everything you can imagine. Not only can you use studio technology to reproduce almost any instrument using emulation or prefabricated loops, you can also listen to complete backing bands as a hardware pedal or as backing tracks in which the instrument you want to play yourself is simply left out.

The industry is doing everything possible to ensure that you have to “torment” yourself as little as possible. Just like your buddy and his buddy and so on. Listen to songs? Why, someone will have already written down the tabs. Play the whole song? Why, it's enough if my buddies recognize the main reef. The only problem is that anything that is not worked out with great effort and massive personal effort and can be reproduced by anyone has no value.

I still remember many years ago, when I was teaching myself, the first students only wanted to learn the main riff and maybe an important part of the solo. Considering they never intended to play in a band, it was always just a matter of briefly catching the attention of their friends on YouTube, Instagram or Facebook and then moving on to the next riff. Imagine you wanted to learn tennis, but you only ever practice your serve so that everyone on the edge of the court nods their heads benevolently because of the good serve. But you could never play a complete match with one opponent because you couldn't play forehand, backhand, volley, etc. So what value would your tennis game have? Nothing.

Of course, it is clear to me that the music world has changed completely and exclusively for the worse. Every second Instagram video that the algorithm suggests to me based on my job shows me a young woman with completely over-makeup and styled to the max, playing the drums to a well-known song in her underwear. No name of the musician, even like the guitar student students, the first few bars of the song and then gone again. Intrinsic value of the performance is zero, even if the craft is good.

Anyone who has read my other articles will most likely have noticed that I consider the figure of the typical musician, who can make a living from his music in the form of composition and live performance, to be a dying breed. Even today, in a more or less successful band, almost always only one person can live off the income; the rest consist of hired musicians who are paid depending on the effort for their live performances and studio work and who could not survive without additional jobs. From an economic point of view, a music group is always doomed to failure.

In return, the social aspect of making music in a group is almost existential. A small example. Almost every guitarist thinks they can play bass, “it’s the same thing, just with thicker strings.” The whole thing goes well until you hear what the bottom line is. In fact, what is usually left is a bass-playing guitarist who simply duplicates most of the guitar tracks and has no idea what harmonic and melodic function a bass has in a band. You could also give a violinist a double bass. He would rightly laugh at you, but that's another story.

I probably gained over 80% of my musical knowledge by listening to musicians and technicians who were better at one or more instruments, etc. than I was, and then adding their knowledge to mine. I also worked with musicians who were so off track personally that it was almost unbearable, but their craftsmanship was completely outstanding. Here too I was able to learn a lot, at least to the point where you had to leave the room otherwise you would have burst. There is hardly a musician from whom you can't learn something, even if it's just how you shouldn't do it under any circumstances.

Conclusion

As much as the music and media industry has been doing everything for decades to reduce the musician's development to a mere sensationalist without his own personality, it is just as important to be in constant exchange with other musicians, even or especially when the direct benefit does not seem obvious to you. Just communicating about a problem, an orientation, a sound and much more. puts your own opinion to the test again and again, which ultimately leads to an improvement in the situation.

Making music is a deeply social approach, everything else is entertainment at best. Have fun!


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Additional Informations:

Building a successful music band is a thrilling yet challenging endeavor that requires a combination of talent, dedication, and strategic planning. The road to success in the music industry is often long and winding, with numerous factors influencing the journey. In this comprehensive guide, we will delve into the various aspects of creating and establishing a successful music band, exploring the time it takes and the essential considerations along the way.

I. Formation and Vision:

A. Time Frame:
   1. Forming the core group of musicians typically takes a variable amount of time, depending on factors such as networking, auditions, and musical compatibility.
   2. Establishing a shared vision and musical direction may take several months of discussions and creative collaboration.

B. Considerations:
   1. Choose band members with complementary skills and a shared passion for the music genre.
   2. Define the band's identity, musical style, and long-term goals to ensure a cohesive vision.

II. Rehearsals and Skill Development:

A. Time Frame:
   1. Building musical proficiency and tight cohesion requires consistent rehearsals, ranging from several hours per week to daily sessions.
   2. Skill development is an ongoing process, with musicians continually honing their craft over months and years.

B. Considerations:
   1. Invest in quality equipment and rehearsal spaces to facilitate optimal practice conditions.
   2. Prioritize individual skill development through lessons, workshops, and collaborative learning.

III. Songwriting and Repertoire:

A. Time Frame:
   1. Creating a repertoire of original songs can take months or even years, balancing creativity with market trends.
   2. Developing a diverse setlist of covers may take additional time to ensure a well-rounded live performance.

B. Considerations:
   1. Focus on crafting unique and memorable original songs to distinguish the band in a competitive industry.
   2. Consider audience preferences and adapt the repertoire to cater to a broad demographic.

IV. Branding and Marketing:

A. Time Frame:
   1. Building a strong brand identity can take several months, involving the creation of logos, visuals, and a cohesive aesthetic.
   2. Developing an effective marketing strategy may require continuous adjustments and refinements over time.

B. Considerations:
   1. Utilize social media platforms, websites, and other online channels to connect with fans and build a digital presence.
   2. Collaborate with photographers, designers, and marketing professionals to ensure a polished and professional image.

V. Live Performances and Networking:

A. Time Frame:
   1. Gaining performance experience at local venues can take a variable amount of time, depending on the availability of opportunities.
   2. Networking with industry professionals and other musicians is an ongoing process that spans the band's entire career.

B. Considerations:
   1. Prioritize live performances to gain exposure and connect with potential fans.
   2. Build relationships with venue owners, promoters, and other musicians to expand opportunities for gigs and collaborations.

VI. Recording and Distribution:

A. Time Frame:
   1. Recording a professional-quality album may take weeks or months, depending on the complexity of the project.
   2. Distributing music through digital platforms involves ongoing efforts to reach a wider audience.

B. Considerations:
   1. Invest in a reputable recording studio and collaborate with experienced producers to ensure a high-quality final product.
   2. Explore various distribution channels and marketing strategies to maximize the reach of the band's music.

VII. Persistence and Adaptability:

A. Time Frame:
   1. The journey to success is often unpredictable, and there is no fixed timeframe for achieving recognition.
   2. Persistence and adaptability are key, as the music industry is constantly evolving, requiring bands to stay current and flexible.

B. Considerations:
   1. Be prepared for setbacks and challenges, and view them as opportunities for growth.
   2. Stay attuned to industry trends and be willing to adapt the band's approach to meet changing audience preferences.

Conclusion:

Building a successful music band is a multifaceted process that demands time, dedication, and careful consideration of various factors. While there is no guaranteed timeline for achieving success, focusing on musical proficiency, branding, live performances, and adaptability will contribute to a band's long-term viability in the competitive music industry. By navigating these considerations thoughtfully, musicians can embark on a journey that may lead to lasting success and a meaningful impact on the global music scene.