FEATURE: What's the legendary Plexi Sound?

It is considered the greatest legend that the electric guitar sound has ever produced, the legendary “Plexi” sound. Every musician who has had the pleasure of working with analog amps and all preset friends in the simulation / profiling department will have heard or read the name before. Every expert, on the other hand, will frown because THE Plexi sound does not exist at all and it is in no way fixed like a twin reverb or rectifier, for example. This feature is intended to dispel a few myths and misunderstandings that have accumulated over the last six decades and are repeatedly misrepresented. So why did guitarists like Jimmy Hendrix, Jeff Beck and Jimmy Page identify with this car?

What is a Plexi?

We jump back in time to the early sixties in Great Britain. Rock music of all kinds exploded in the UK during this time and posed a major problem for local musicians. The crowds at the concerts were getting bigger and bigger, as were the halls, but there was almost no equipment that could fill the halls with sound. The British musicians had a selection of small combo amplifiers, which went up to a maximum of 15 - 20 watts and these also lasted a short time at full load before going into the eternal hunting grounds. Companies like VOX or Selmer were just getting started and were not yet able to even begin to meet demand.

The only manufacturer in the world that had stable amps at the time that could generate up to 100 watts of power was located on the other side of the pond and was called Fender. However, at the time there were no import companies that would ship the desperately sought-after amplifiers to Europe, and the different mains voltages between the USA and the UK put a damper on private imports.

Jim Marshall, who opened a music store in London as a trained drummer and electrician, managed to obtain a small stock of amplifiers for the first time, but the demand still could not be met. So it came about that Jim Marshall hired a few engineers who then copied the 59' Fender Bassman 1:1 with a few modifications and brought it onto the market under the name JTM 45. The amp practically became the standard in all British clubs overnight and brought Marshall a huge boost in popularity.

A short time later, Pete Townshend from THE WHO asked Jim Marshall for a louder amp because the JTM 45's 45 watts weren't enough for him. Please imagine for a moment what volume levels prevailed on stage back then when 45 watt solid tubes were considered too quiet. The reason is quickly explained. P.A. Systems such as those offered today simply did not exist back then. People were happy when their vocals were amplified via a “vocal system” using crazy constructions. With a lot of luck they also found 2 channels for the kick and an overhead microphone, but that was it. Monitor boxes? What is that? Guitar and bass? Straight from the stage into the hall. It is not for nothing that almost all musicians of this time were and are partially or completely deaf.

After Jim Marshall doubled the JTM 45's output to 100 watts at Townshend's insistence, the next model, the original Plexi, came onto the market in 1967 in the form of the Marshall Superlead 100. It still had the reserves to sound clean even at high volumes. “Sound clean? Marshall and Clean, what’s that supposed to mean?” the first readers will ask themselves. Well, as already mentioned, during this time it was primarily about being able to fill large halls with sound without the sound collapsing. High gain as it is used today was unthinkable even in the wildest dreams and since artists like Jimi Hendrix almost predominantly preferred a clean, possibly slightly crunchy sound, the Plexi was characterized by precisely this feature. It's funny when you consider that the clean sound probably comes last when it comes to classic Marshall sounds.

Where does the term “Plexi” come from?

As I said, the name Plexi is a creation of a word that was coined by customers at the time. It is simply a description of the fact that the control panel of the amplifier is backed by a plexiglass pane for optical reasons, nothing else. In principle it wouldn't be a problem if it weren't for the fact that there were tons of Marshall amplifiers with different sound requirements, all of which had a control panel lined with Plexiglas. There were organ amplifiers, bass amplifiers, guitar amplifiers, and even Plexi vocal systems in Marshall's range.

Over the decades it has been agreed that a non-Master Marshall with 50 or 100 watts is called a “Plexi”, even if from 1969 onwards it no longer had a Plexiglas pane in its equipment. Seen this way, these include the 1959, 1987, 1992 models, some Bluesbreaker combos and of course the reissue models, which Marshall releases at regular intervals.

What is the “Plexi” sound?

To say it right from the start, the “Plexi” sound in all its shades is a far cry from what we call “lead” or even “high gain”. However, it is not the “super clean” that modern multi-channel devices offer. Strictly speaking, it's the different levels of crunch that Marshall offers with these models, depending on the guitar and the pickups installed. I'm consciously talking about playing the amp WITHOUT additional pedals, as these of course greatly expand the sound of the amp, but also completely change its sound. However, it should also be mentioned that all Plexis harmonize perfectly with boosters, overdrive and distortion pedals of all kinds due to their spartan construction. However, going into this further would go beyond the scope of this special. You can find some sound examples under this link.

Even if a typical Plexi is seen as a single-channel device, the amp must, strictly speaking, be seen as a two-channel device, which offers two different inputs with different sound approaches per channel, hence the four inputs. (Footswitch in 1967? What is that?) While input 1 of the respective channel was the much hotter input, input 2 still offers a comparatively clean sound even at very high volumes. Mind you, the volume at 12 o'clock, for example, is infernal and can really be maximized at large open air concerts.

The two channels of the amp differ massively in terms of their sound characteristics. Channel i of the amp is the classic lead channel and has more treble and presence, while channel 2 has significantly less treble and a higher bass content. What came up relatively early and was due to the circuitry of the time is the fact that you can connect both channels using a short patch cable and then mix them using the two volume controls. Channel 2 in particular benefits from this, as in my opinion it doesn't work at all in its solo function, as it is far too musty and expressionless.

A special feature of the classic Plexi sound is the fact that it has a lot of highs, but they don't “hurt”. Many modern amps make you squint as soon as you tamper with the treble or presence controls, but this is not the case with Marshall. The tone control of the amp is deliberately designed to be comparatively ineffective. When asked about the tone control, Jim Marshall's statement is legendary: “This is on purpose so that you can't set a bad sound,” knowing that God knows that his customers in “Swinging London” had other interests in mind than the perfect setting of a guitar amp.

I have recorded three amps that can be included in the “Plexi” range, a 1959 model, which was tuned almost 30 years ago (albeit very well, but unfortunately) by Manfred Reckmeyer, an untreated 1992 model, which is the bass amp Execution, but in principle it is almost identical to the 1959 and a new Soundcity Master One Hundred, which is very close to the Plexi in terms of approach, but still represents an independent sound culture. All amps were recorded without any pedals; the guitar was a Fender Strat Anniversary from 1979, which was equipped with an EMG set.

For the tuned 1959 I only used the “untuned” setting, but you can already tell that changes have been made to the innards of the amp. The sound is more stable than vintage amplifiers, but it lacks the freshness of the original.

In terms of sound, the 1992 actually offers an identical copy of the 1959 Superlead with a slightly more stable bass range, which is why it was almost completely turned out.

The SoundCity comes very close to a classic Marshall, but offers a significantly greater range of sound than the typical non-Master Marshalls. For me it is an outstanding alternative, which, in contrast to some Marshall products, is currently available and which has the same history as Marshall.

To get to the point, operating a Plexi on stage in its sweet spot without appropriate measures borders on bodily harm, even though the sound is unparalleled. Nothing, really nothing, can compare with this power and this stage presence, especially not simulations or profiles that are adorned with the trademark. But if you use, for example, a high-end load resistor like the Fryette Power Station, you can even manage to keep the legendary sound at practical volume levels and still not have to accept any loss of sound. An amp for eternity!

One last thing, the famous “English setting”, i.e. all controls at 10, is complete nonsense, the amp sounds much too pressed and undynamic in this setting. If at all, you can only operate the amp in this setting with a guitar that has extremely low output, so maybe a vintage Strat with half of the magnet molecules already tipped over or maybe an old Danelectro.

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Additional Informations:

Jim Marshall, born James Charles Marshall on July 29, 1923, was a British entrepreneur and musician who left an indelible mark on the world of music through his revolutionary contributions to amplifier technology. Widely known as the "Father of Loud," Marshall's name is synonymous with the iconic Marshall amplifiers that have played a pivotal role in shaping the sound of rock and roll. This article explores the life, career, and lasting legacy of Jim Marshall, a visionary whose innovations continue to resonate across the global music landscape.

Early Life:

Born in London, Jim Marshall grew up during a time when the music scene was undergoing a radical transformation. In his youth, he developed a passion for jazz and the drums, ultimately leading him to pursue a career in music. Marshall's early experiences as a drummer laid the foundation for his later success in the music industry, as he gained firsthand knowledge of the needs and challenges faced by musicians.

Entrepreneurial Beginnings:

Jim Marshall's journey as an entrepreneur began in the early 1960s when he opened a small music shop in London. Initially selling instruments and offering drum lessons, Marshall's shop soon became a hub for local musicians. Recognizing the demand for reliable amplifiers that could produce the volume required for live performances, Marshall decided to venture into amplifier manufacturing.

The Birth of Marshall Amplification:

In 1962, Marshall introduced the JTM45 amplifier, a product that would mark the birth of Marshall Amplification. This amplifier, inspired by the American Fender Bassman, quickly gained popularity for its powerful sound and durability. Marshall's keen understanding of musicians' needs allowed him to refine and improve his amplifiers continuously.

The Marshall Stack:

One of Marshall's most significant contributions to the world of music was the development of the Marshall stack. In the mid-1960s, he introduced the concept of stacking multiple speaker cabinets on top of each other, creating a towering wall of sound. This innovation not only provided the volume that rock musicians craved but also became an iconic visual symbol of the rock and roll lifestyle.

Endorsements and Influential Users:

As Marshall Amplification gained acclaim, it attracted endorsements from some of the most influential guitarists in the world. Legends like Jimi Hendrix, Eric Clapton, and Jimmy Page embraced the Marshall sound, solidifying its status as the go-to choice for rock musicians. The association with these iconic artists propelled Marshall Amplifiers to international prominence.

The Marshall Logo:

The distinctive "Marshall" logo, featuring a stylized script, became an iconic symbol of quality and reliability. Marshall's commitment to producing amplifiers that could withstand the rigors of touring and deliver a consistent, powerful sound earned the brand the trust of musicians worldwide.

Legacy and Impact:

Jim Marshall's impact on the music industry extends far beyond the amplifiers that bear his name. His innovative spirit and dedication to meeting the needs of musicians revolutionized the way amplifiers were designed and built. The Marshall sound became synonymous with the energetic and powerful performances of rock and roll, shaping the sonic landscape of countless genres.

Jim Marshall passed away on April 5, 2012, but his legacy lives on through the enduring popularity of Marshall Amplifiers. The company continues to innovate, adapting to new technologies while staying true to the principles set forth by its founder. Marshall amplifiers remain an integral part of the music industry, used by musicians of all levels, from aspiring beginners to seasoned professionals.

Conclusion:

Jim Marshall's journey from a drummer and music shop owner to the creator of one of the most iconic amplifier brands in the world is a testament to his entrepreneurial spirit, passion for music, and commitment to quality. The Marshall Amplification legacy serves as a reminder of the profound impact one individual can have on an entire industry. Jim Marshall's vision and innovation have left an indelible mark on the history of music, ensuring that his name will be remembered for generations to come.

FEATURE: What Do I Expect From My Band

 “Playing in a band, why?” I don't know how many times I heard this sentence many years ago when I was still teaching. Let's now take aside the (mainly) men who are already in everyday working life and ultimately never find a common appointment for rehearsals or the time for personal practice. At least 60% of all typical students between the ages of 14 and 18 already had one back then Their only focus was on being able to play the main riff or solo of their favorite song, then sitting on the bed uploading it to YouTube as quickly as possible, sending the link to their friends and then counting the clicks. Playing a whole song, nope, practicing and partying with friends, nope, developing your own personality on the instrument, nope, and so on. Everything is far too strenuous and, above all, it takes far too long until the first measurable results appear.

The cruel YouTube fixation seems to have subsided a bit recently, but there are still huge differences in what the individual musicians expect from a band that couldn't be bigger. This feature is intended to help you avoid as many pitfalls as possible, at least in advance, in order to experience as much fulfillment as possible in your musical career. So then, what do I expect from my band?

1.) “What kind of music do we actually want to play?”

No matter what points still need to be clarified within a band, at least 50% of all energy will be spent on this point. The problem lies in the different perspectives of the individual musicians and the associated prioritization of their respective activities. If we take as an example a constellation of absolutely equal musicians who meet for the first time for a preliminary discussion, everyone who has already found themselves in this situation will be familiar with the hours-long discussions.

Whether you want to cover or turn to your own titles can be discussed relatively quickly, but once you have decided on the second option, all barriers are usually broken. Everyone tries to focus on a certain style as much as possible and often reduces their fellow musicians to mere vicarious agents. This has never worked and never will! Only if all musicians present want to practice the same style and cite similar role models or influences can one expect a functioning system.

Of course, there are technically outstanding musicians in the professional sector who can play any style and almost any song, but these are purely economic arguments. Of course you can do it like with the DEAD DAISIES, for example, in which guitarist David Lowy, completely unknown himself and fairly talented as a musician, but heir to his father Frank's multi-billion dollar empire, has an impressive stable of musicians for hire of the caliber of Glenn Hughes, Dean Castronovo or Doug Aldrich holds. This works as soon as money flows, but never at the beginning of a career.

2.) Goals

Along with the first point, the second point must also be considered. When the author of this article was still a young Springinsfeld, everyone, absolutely everyone, who could even hold an instrument wanted to become a professional musician. The economic sky in the music industry was full of violins, the advances from the record companies were generous, the salaries were high, and the parties were lavish. The fact that these days are long gone is shown not only by the tiring discussions about tenths of a cent when it comes to musicians' participation in the income of streaming services.

To put it bluntly, 1% of all musicians can make a living from music, of which 49% probably play in well-booked tribute or cover bands, 49% teach and maybe 2% play their own songs. If it goes up, I estimate that a maximum of every thousandth band that plays their own songs will generate a relevant income where ALL musicians in the band can survive on the income. Mind you, survive, not the whirlwind that is often conveyed in the media.

It therefore makes sense to talk about how much you are prepared to give yourself up to this torment and how high your capacity for suffering is right from the start of the band. The statement “We’ll see how well it goes and if it’s worth it, we’ll do it full-time” is nothing more than a paraphrase for “we’ll remain hobby musicians forever”. This is by no means reprehensible, but here too it is important to make the necessary personnel decisions as early as possible. Only those who have the same goals will work together effectively.

3.) Financing

How do you recognize professional musicians? They ask about payment at the first conversation! ;-) OK, the saying is very provocative, but at least it corresponds to my experience. In this regard, you can Don't be angry, but unfortunately this attitude is usually accompanied by the loss of any illusion of the glamorous part of the music. Nevertheless, the financial area always creates a lot of sources of stress of all kinds. Starting with the rehearsal room rent (“the drummer takes up the most space and uses it the most, he should pay more”), travel costs (why should I pay for the other musicians’ travel with my money), technology (“the singer should “pay for the vocal system alone”) and much more.

Ultimately, for the sake of peace, you usually can't avoid having a “treasurer” and later possibly management. I can only recommend that all of the band's income initially be used for ongoing costs such as: B. to take rehearsal room rent and pay out the remaining surplus in equal parts. I would pay every musician who puts on a paid show between 10 - 20% of the fee as a commission, because as a contact person they usually have more work with this show.

It becomes difficult when the band is purely a hobby business, i.e. a loss-making business, and costs are incurred. The only option that helps here is that one person covers all the costs, but then also receives all the income and pays the other musicians proportionately, or everyone sets up a standing order for the costs incurred. I used to chase my “colleagues” for months for €10, something like that just gets annoying and kills any mood.

4.) Punctuality

A very popular topic. Even though Germans have a reputation for being very punctual, and this is undoubtedly the case compared to other countries, everyone has their own idea of when and where they should be. If no one takes it too seriously and everyone comes as they want, the whole thing might still work, but if one or two musicians prevent the other colleagues from starting on time, in my opinion that is nothing other than anti-social behavior.

If a rehearsal starts at 4 p.m. and I have access to the rehearsal room, I'll be there at around 3:30 p.m., set up my stuff and warm up so that we can start at 4 p.m. If your colleagues can't do it that early, you can't start the rehearsal until 5 p.m., no problem, but deliberately making your colleagues wait because you're poorly structured isn't an option! There is always a traffic jam or something special that causes a delay, but this always has to be an exception.

5.) Preparation

Actually a topic that requires no explanation, but is still a very popular point of contention. Who doesn't know that you can only play a song up to a certain part, because then a colleague can't play his part (yet). “I still have to practice it…” What does that have to do with colleagues? You don't meet in the rehearsal room to catch up on your personal finger exercises! It is also very popular for singers to sing the lyrics from sight. It's best to do it two days before the performance and then cover the stage floor with sheets of text. The maximum amount of embarrassment is only surpassed by a music stand on the stage.

People meet to discuss arrangements, practice singing, everything that concerns ALL musicians. You can also play certain parts as a loop to keep everyone safe, but showing up to the rehearsal unprepared is an absolute nonsense.


6.) Personal commitment

Sometimes it feels like there are 2 types of musicians when it comes to work that goes beyond operating their personal instrument. Some do everything, others do nothing. I don't know how many times I've personally tried to assign certain responsibilities within a band, for example one person takes care of loading the van, one does the billing, one maintains contact with technology, etc.

There seems to be this polarization, especially among musicians. I've seen musicians who simply leave their equipment on stage after the show in the sense of "someone will take it with them." That wasn't the case, i.e. H. There was still a lonely bass system and bass on the stage the next day, maybe it's still there today. To what extent you can live with that, everyone has to decide for themselves, but such openly displayed disinterest in the unpleasant work surrounding the band rarely creates a good atmosphere.

Conclusion

In principle, these days you can be grateful for any musician who strives for the anachronistic path of making music in its purest form. Prefabricated loops, DAWs with incredible possibilities and a richly laid out Internet table with countless playalongs contribute to the fact that you hardly want to indulge in the effort of a rehearsal with corresponding social obligations.

However, anyone who has ever experienced the energy of a synchronous band will forever ask themselves how they can transfer even 1% of this feeling into the synthetic world. Nothing can be compared to the experience of the moving air that a great band gives off and only those who know this feeling know why every plugin manufacturer, every programmer and every IT designer does everything they can to be the protagonists of the analog world with their instruments , amplifiers and rooms at least optically to copy.

For my part, I've found that it only makes sense to work and spend time in a room with people you really like, or at least respect to a high degree. Investing time, money and passion in people with whom you would rather not go out for a beer after work has never worked and will always lead to a split in the medium term.

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Additional Informations:

The landscape of the music industry has undergone seismic shifts in recent decades, with technological advancements, changes in consumer behavior, and evolving industry dynamics shaping the opportunities and challenges for musicians. In this comprehensive exploration, we delve into the multifaceted aspects that influence the success prospects of a music band in today's rapidly changing musical ecosystem.

I. The Digital Paradigm:

A. Streaming Platforms:
   1. Streaming platforms have revolutionized music consumption, providing unprecedented access to global audiences.
   2. Bands can leverage these platforms for exposure, but the vast catalog of available music poses challenges for standing out.

B. Social Media and Online Presence:
   1. Social media platforms offer direct communication channels with fans and avenues for self-promotion.
   2. Maintaining a consistent and engaging online presence is crucial for building a loyal fan base and industry visibility.

II. Industry Disruptions and Opportunities:

A. Independent and DIY Movements:
   1. The rise of independent and DIY (Do It Yourself) approaches empowers bands to retain creative control and revenue.
   2. Navigating the complexities of self-promotion, distribution, and marketing requires strategic planning and adaptability.

B. Impact of Technology:
   1. Technological advancements, such as home recording and digital production tools, democratize music creation.
   2. Bands can harness technology to produce high-quality music without the need for extensive studio budgets.

III. Diversification of Revenue Streams:

A. Live Performances:
   1. Despite challenges posed by the COVID-19 pandemic, live performances remain a critical revenue source.
   2. Bands must explore innovative ways, including virtual events and live streaming, to connect with audiences in the absence of traditional gigs.

B. Merchandising and Branding:
   1. Merchandising, including apparel, physical music formats, and branded merchandise, contributes to a band's income.
   2. Building a strong brand identity enhances marketability and fosters a deeper connection with fans.

IV. Challenges in an Oversaturated Market:

A. Oversaturation and Discoverability:
   1. The sheer volume of music available online poses challenges for bands seeking visibility.
   2. Effective strategies for standing out include targeted marketing, niche targeting, and collaboration with influencers.

B. Algorithms and Playlisting:
   1. Algorithms and curated playlists on streaming platforms heavily influence music discovery.
   2. Understanding and navigating these algorithms can significantly impact a band's reach and potential success.

V. Industry Networking and Collaborations:

A. Networking and Relationship Building:
   1. Building relationships with industry professionals, influencers, and other musicians is vital.
   2. Networking facilitates opportunities for collaborations, exposure, and access to valuable resources.

B. Collaborative Projects:
   1. Collaborations with other artists, producers, and brands can expand a band's reach and introduce them to new audiences.
   2. Strategic collaborations can lead to mutually beneficial outcomes in terms of creativity and promotion.

VI. Globalization and Cultural Exchange:

A. Global Reach:
   1. The globalization of the music industry allows bands to reach diverse audiences worldwide.
   2. Cultural exchange and embracing diverse influences contribute to a band's versatility and appeal.

B. Cultural Sensitivity:
   1. Bands must navigate cultural nuances and sensitivities to avoid missteps in an interconnected global music landscape.
   2. Embracing diversity and understanding local markets enhance a band's global success potential.

VII. Adaptability and Resilience:

A. Industry Evolution:
   1. The music industry is in a constant state of evolution, requiring bands to adapt to emerging trends.
   2. Resilience in the face of setbacks and the ability to pivot strategies are essential for sustained success.

B. Fostering Innovation:
   1. Innovative approaches to music creation, promotion, and distribution set bands apart in a rapidly changing landscape.
   2. Embracing new technologies and exploring unconventional avenues contribute to a band's long-term viability.

Conclusion:

In the contemporary music landscape, the success prospects for a band are intricately woven into a tapestry of digital innovation, industry disruptions, diversified revenue streams, and global interconnectedness. While challenges such as oversaturation and algorithmic influence persist, bands armed with strategic planning, adaptability, and a commitment to innovation can navigate the complexities of the industry and carve out a meaningful and sustainable path to success. Ultimately, the modern music landscape offers unprecedented opportunities for those who approach their craft with creativity, resilience, and a forward-thinking mindset.

FEATURE: Preparing for a big tour

 Despite all the economic pessimism that has wreaked havoc within the live music industry in recent years, the so-called “big tours” still exist. I don't mean the worldwide tours of the international superstars of the respective music genres, which will work perfectly for the rest of their existence due to their status, but the segment that covers the area of "saved annual vacation minus family" or "weekend cover within the local federal state”. This area is often covered by the semi-professional musician whose artistic income is not enough to survive and is therefore often secured by a part-time job, but whose priorities are 100% on music and its possibilities. You are welcome to come together here for 4 weeks or more at a time, which will show many points in a different light than what you previously imagined. Let's take a closer look at the economic, social and technical minefield.

The definition of a tour

As most people probably know, the definition of a tour has evolved dramatically over the last two decades. While some time ago the live performance had the function of promoting a new album by the band/artist, from which the majority of the profit was generated, this has now been reversed. Today you bring a new album onto the market to have a reason to tour, since there is no longer any profit to be made from the distribution and sale of a classic record. It's not without reason that the current Media Control Charts have fallen in reputation, as sales of almost 3,000 albums within a week are now enough to reach second place. The famous top 10 placement is therefore just a gleam in the eyes of the musicians, although the businessman waves it off with a smile and what can be “earned” in the area of streaming below the multi-million mark due to the criminal distribution level is probably well known by now.

Therefore, playing live in combination with the most important aspect of touring, the sale of merchandise, and for larger acts also the sale of VIP tickets, offers the last bastion of making a significant profit, whereby the breakdown of the fee = cap on the travel costs and transport costs, merchandise = profit from the tour in the order of an average of around 300 visitors per show. Anyone who sets about planning a strict tour, preferably without day-offs for more than a month, is confronted with several imponderables, especially at the beginning of their career, which, depending on the amount of work and accumulation, can quickly capsize the “tour” boat. So, what should you pay attention to on a “big tour”?

1.) Physical

Like the author of this article, you don't have to have exceeded a certain quota of decades to know that a tour that exceeds the sequence "Fri., Sat., possibly Sun. on tour, then 4 days at home" is one represents a mammoth physical task. What is often presented to the outside world as a “2-hour show, otherwise it’s cool to hang out on the bus and play video games” actually demands far more from the body, especially in the area of sleep deficiency/imbalance, than you might initially imagine. When you're in your early 20s, the whole thing seems like a joke, as you can easily go a week without sleep and celebrate every day when your rind cracks, but this week is also coming to an end and with it your fitness. Every day you spend on tour, you lose a percentage of your fitness, which eventually ends in total exhaustion. Therefore, the more you have trained your body in advance for fitness, a healthy diet and a balanced daily routine, the longer you will ultimately last.

2.) Psyche

Point 2 is even more severe than point 1, as you cannot prepare adequately here. Only those who manage to completely give up their privacy for the duration of the tour can really enjoy everyday tour life. If you work with hotel beds and have the luxury of single beds, you may be able to build a small refuge into which you can at least partially retreat. However, anyone who works with nightliners/tour buses is forced to subordinate their personal daily routine to the entire tour party. There is extreme crampedness, completely different ideas about the room temperature, always too little space for everything, not to mention sleeping on a roaring diesel, which with a bit of luck will perhaps be replaced by an electric motor in the medium term. This scenario wears down anyone who hasn't either known this procedure for years or has their psychology well under control.

3.) Equipment

To put it briefly, it must, not it should, everything MUST be present twice on a longer tour. Not just the guitar and maybe a spare cable, but really everything. Power supplies, stompboxes, power cords, guitar straps, DI boxes, amplifiers, speakers, in-ear systems, transmitters, microphones, just about everything. I've experienced tours where the keyboard player broke a C key during the show, after which he was able to demonstrate his spontaneous performance in the area of inversions. Or keyboard players whose keyboard has completely given up the ghost and the MacBook keyboard has been used for other purposes, at least for layer work.

Of course there are also wearing parts such as strings, drumsticks, skins, gaffa tape, but also unusual things such as the cerumen filters of the Inear systems. As soon as the filters become clogged, there is no longer any treble on the earphones, which reduces the monitoring to absurdity. It goes without saying that every part should be checked for functionality beforehand, but you wouldn't believe how often colleagues show up at the venue with empty batteries. It is helpful to have items such as: B. to get batteries in a maxi pack so that everyone can use them and to have the costs paid from the tour revenue. This means that my colleagues also have functioning equipment who only take responsibility for sound and functionality up to the output socket of their instrument and believe me, I also have such representatives in my direct work environment.

Another point, if not the most important point of a big tour is the packaging in cases. I know colleagues who check in their instrument in the cardboard delivery box at the airline check-in counter and are surprised that more kindling arrives at the destination than anything else. Professional flight cases or at least high-quality hardshell cases are now available for really little money and if your instrument is not worth at least this protection, you at least have an obligation to the tour crew to offer functioning equipment every evening.

4.) Touring abroad

The specifics of foreign tours would go far beyond the scope of this article; the topic of visas alone would take up several reports, not to mention the topics of import regulations, mains voltages, radio frequencies, foreign tax, residence permits and much, much more. Therefore, we leave the overseas area out of the equation and only deal with the most important points in the EU area, which significantly simplifies the problem. Apart from our Swiss friends, who can get on your last nerve with their import and export regulations, touring in the EU is comparatively easy. The currency is (still) mostly the same, there are no longer any physical border controls, we all drive on the right side and our mains voltage is more or less fixed at 230V. In addition, the power plugs are mostly compatible, exceptions such as the non-EU countries GB and CH must be taken into account when making a detour.

Aside from the distances between countries, depending on the country there is actually only one big problem that you should always keep in mind: the problem of communication. The fact that English is the first foreign language in school in every country still does not seem to have sunk in in some countries. Unfortunately, the situation only changes very, very slowly and, especially in the local music sector, you are completely lost without rudimentary local language skills, although there is a typical north-south divide. While you can usually find excellent English in the Scandinavian countries or the Netherlands, unfortunately countries like Greece, Italy and Spain still occupy the last places, at least in the music sector. I don't know how many times my backliner Bernie, who speaks fluent Spanish, has saved our asses, from a simple order in a restaurant to security at an international airport in Spain. Not a word of English!

Therefore, you should familiarize yourself with the translator functions of your cell phone in good time. Both operating systems now have good functions, so that you can at least discuss the most important points in the local language. When it comes to musical terminology, most programs fail.

A final tip: nothing is as well received at foreign shows as a few announcement phrases in the local language. Of course you can wave the respective national flag after the encore, but this involves a lot of logistical effort and some transport costs. For example, you are better served with “Witajcie przyjaciele, cieszymy się, że jesteśmy z wami.” (Polish) in phonetic transcription.

Have fun and good luck with your shows!

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Additional Informations:

The global nature of the music industry often necessitates musicians to travel internationally for tours, performances, collaborations, and promotional activities. However, the COVID-19 pandemic and other geopolitical factors have significantly impacted international travel, leading to a myriad of entry restrictions and requirements for musicians. In this detailed exploration, we will delve into the complex landscape of international entry restrictions that musicians face, considering the diverse policies across countries and the evolving nature of travel regulations.

I. Impact of the COVID-19 Pandemic:

A. Travel Bans and Restrictions:
   1. Many countries have implemented travel bans or restrictions in response to the ongoing COVID-19 pandemic.
   2. These restrictions may include quarantine requirements, vaccination mandates, and specific entry protocols.

B. Dynamic Nature of Regulations:
   1. Entry requirements are subject to change based on the prevailing global health situation.
   2. Musicians must stay informed about real-time updates and be prepared for sudden changes in entry regulations.

II. Visa and Work Permit Considerations:

A. Artist Visas and Work Permits:
   1. Musicians often require specific artist visas or work permits to perform in foreign countries.
   2. The application process for these documents varies by country and may involve extensive paperwork and coordination with event organizers.

B. Timing and Planning:
   1. Securing visas and work permits can be time-consuming, and musicians must plan well in advance of their intended travel dates.
   2. Delays in visa processing can impact tour schedules and contractual obligations.

III. Entry Requirements by Region:

A. Europe:
   1. The European Union (EU) has implemented the Schengen Area, allowing for easier travel within member countries.
   2. However, individual countries within the EU may have varying entry requirements, particularly in the context of the post-Brexit landscape.

B. North America:
   1. The United States and Canada, both major destinations for international touring, have specific entry requirements for musicians.
   2. Navigating the visa process and adhering to border control regulations is crucial for seamless entry.

C. Asia:
   1. Asian countries often have strict entry requirements, with variations in visa types and processing times.
   2. Cultural differences and language barriers may pose additional challenges for musicians navigating entry regulations in this region.

D. South America:
   1. Entry requirements in South American countries can vary, with some nations requiring specific documentation for artists.
   2. Musicians must be aware of the diverse regulations in place across this continent.

IV. Pandemic-Related Protocols:

A. Vaccination Requirements:
   1. Some countries mandate vaccination against COVID-19 for entry.
   2. Musicians may need to provide proof of vaccination and adhere to booster shot recommendations.

B. Testing Protocols:
   1. COVID-19 testing, including pre-departure and post-arrival tests, is often a standard entry requirement.
   2. Musicians must plan for the associated costs and logistics of testing while on tour.

V. Collaboration with Industry Professionals:

A. Tour Managers and Agents:
   1. Collaborating with experienced tour managers and agents is essential for navigating complex entry regulations.
   2. Industry professionals can provide guidance on visa applications, entry requirements, and logistical planning.

B. Legal Counsel:
   1. Seeking legal counsel familiar with international travel regulations for musicians can ensure compliance and mitigate risks.
   2. Legal advisors can assist with visa applications, contractual agreements, and dispute resolution.

VI. Future Outlook and Adaptation:

A. Advocacy for Streamlined Regulations:
   1. Industry organizations and musicians' associations may advocate for streamlined international entry regulations for artists.
   2. Collaborative efforts can lead to improved visa processes and standardized entry requirements.

B. Technological Solutions:
   1. Advancements in technology may facilitate smoother entry processes, such as digital visa applications and streamlined document verification.
   2. Musicians should stay abreast of technological innovations that could simplify international travel.

Conclusion:

Navigating international entry as a musician involves a complex interplay of COVID-19-related protocols, visa requirements, and regional entry regulations. The evolving nature of the global landscape requires musicians to stay informed, plan meticulously, and collaborate with industry professionals to ensure seamless and compliant travel. Despite the challenges, adapting to the dynamic entry requirements is crucial for musicians to continue sharing their art on a global stage and fostering cross-cultural musical exchanges.

FEATURE: Is it still possible to make a living from music?

 Is it even possible to make a living from music anymore? Answer: No! Well, workshop over, I hope you have a nice rest of the day. Stop, stop, stop, such a statement would not only be presumptuous, it would also be factually incorrect in certain constellations. We all have a DJ in our circle of friends who plays six times a month and ends up with at least €3,000 before taxes at the end of the month. Sounds like it's viable, right? Well, this feature is intended to give a true insight into the economic structures of the music business and to clear up as many prejudices as possible so that the future musician knows what and, above all, what not to expect.

Vision and reality

Professional musicians know the party situation all too well. Anyone who cites musicians when asked about their personal source of income receives a mixture of admiration and pity, unless their name is linked to a nationally known trademark of a band or solo artist. On the one hand, with the appropriate external representation of the artist, the never-ending dream constellations of wild and extravagant sex, drugs and rock'n'roll immediately pop up in the person you are talking to, and on the other hand, it only lasts for a short time, in an indirect or even very direct way the question “And can you make a living from this?” arises. Of course the party answer is “yes”, knowing full well that you probably interpreted the definition differently than your counterpart. While the interlocutor sees us in his imagination on a large open air in front of thousands of screaming fans, highly paid and sold-out concerts, garnished with high-dollar record contracts, we are still thinking about how much guitar lessons, trade fair sound systems and the half-playback hit duo are still using the above definition lets you unite yourself.

To define it briefly, of course you can make a living from music, just ask again about the fees that KISS, for example, receive on their current farewell tour or the guarantee of 1 million per band member that the Rolling Stones still receive per show some time ago on their tours. In this feature we are concerned with a constellation that probably 99% of all musicians have started with and perhaps will continue to do so for a while, i.e. a band of 4-6 musicians, each playing a different instrument to cover the respective frequency range and all have set themselves the goal of writing their own songs that are useful to the band and of having so much economic success with them that all band members can make an equal living from them. To get straight to the point, in this situation the answer is actually as described in the first two sentences of this article.

The school of hard knocks

Rock is dead! Oh man, how many times has this sentence been used and how often it has been misused by artists to perhaps justify the inferiority of their musical product and the resulting decline in income. For the sake of simplicity, let's stick with the countless varieties of rock music and list the relationships. Emerging in the 1950s, adopted in the 1960s and perfected in the 1970s, rock music always had something “dangerous” about it; it always had to be a little “outlaw” in order to consolidate one’s personal status. This external representation has long since passed over into hip hop, even to the point of verbal perversion, while rock music tries to maintain a touch of provocation with the extreme varieties of metal, which have long since moved away from any harmonic structure. What almost 5 decades ago made law enforcement and moral guardians blush with anger, today just passes for pop music in the oldies range and no longer has any fascination for the next generation of music.

Due to the fact that current DAWs with appropriate emulations enable anyone to make a piece of music of any quality available worldwide via streaming services, there is no longer any distinction in the first exploitation step between a global star like Paul McCartney and an acoustic burp in the hobby sector. The result is a hopeless oversaturation with output of all kinds, which can only be countered with massive marketing and promotional activities to draw attention to a still unknown artist. This means that you first have to invest a huge amount of money into an artist before you can even think about making money. Heinz Rudolf Kunze once told me that he only did lousy things with his first three albums, with the fourth album the numbers went black, albums five and six paid off the debts and from album seven onwards a profit was made. Over 10 years had passed... This form of artist development is long gone and is not coming back. But what are the earning potential and who is to blame for these numbers?

The story of the cashier at Aldi

Ok, what kind of income do we actually have? What if I told you that at every big festival with international stars, maybe 25% of the bands, i.e. only the top ones on the poster, actually make a “normal” living from music and maybe the two headliners have the same standard of living , which we all still associate with the extravagant life of the eighties. All other artists have a daytime job.

Well, we would have

1.) Sales of physical recordings via retail or online shops
2.) Digital exploitation via streaming and downloading
3.) Live fees
4.) Selling merchandise
5.) GEMA
6.) GVL

P.S. In order not to throw in the towel straight away, let's leave out the Corona catastrophe and only look at the period before 2020 and perhaps again from the end of 2022.

Regarding 1.) The area of physical recordings, especially CDs, has almost come to a standstill. Although there is a relatively stable area of around 7% in vinyl sales, this cannot stop the decline in income from physical sales. Quote from Warren Hayes: “I used to have a budget of $300,000 per album and sold 300,000 copies of the resulting album. Today I have a budget of $30,000 and am selling 300 pieces.

Based on these figures, although he may have exaggerated the last figure a bit, record companies now only pay advances for recordings to established acts, with advances having decreased by an average of around 70% over the last 20 years. Not only do newcomers have to pay for all recordings for their albums out of their own pocket, the majority of record companies now charge artists a fee to include them in their distribution structure due to the ever-slumping income. The band musician who works a regular 9-to-5 job, saves his annual vacation for performances and pays all expenses himself in order to be able to at least take part in the rock 'n' roll circus a little bit is now the standard, not the exception.

2.) Everyone has heard about it, but the exact numbers are even more terrible than you could even imagine in your worst dreams. Sure, an Ed Sheeran, who has billions of clicks on Spotify and can therefore negotiate separate deals with the streaming platforms, also earns a hefty multi-digit million sum in this area per year, but the common musician only receives fractions of a cent for it his performance. In a nutshell without any claim to being up to date: Streaming a track on Spotify Premium costs around €0.003, of which your digital distributor takes around 20%, or the record company takes around 70% in a standard deal, making around €0.001 €. You then divide this generously by the number of musicians in the band, which makes around €0.0002 per song with 5 musicians. Your album has 10 tracks, i.e. H. If 10,000 fans listen to your entire album, you will receive €1 per musician! Do you think that's ridiculous? That was the income for a Spotify Premium account, with a free account the income is reduced to approx. 1/10. Then around 100,000 fans have to hear your album so that each musician receives €1!

3.) Due to the Corona pandemic, prices in transport have exploded by almost 100%. A Nightliner in the middle segment including a driver currently costs around €1,750 per day, which means that a large part of the fee goes towards producing an average tour. In the best case, a little remains with the artists, but the majority of tours are also in the red. Then why play live at all? Now, so we can launch the only remaining revenue generator, this

Regarding 4.) Merchandise. This is actually the last opportunity for the artist to improve the economic situation in a relatively simple manner. Of course, the record companies have discovered this for themselves, which is why in the newcomer sector almost only so-called 360 degree deals are offered, which means that the record company shares in all the income that the artist earns in any way from his music. Evil record companies? Not at all! Almost all lower and medium-sized labels are fighting for survival and almost all of them are only run as a hobby.

5.) Getting upset about GEMA's distribution levels means bringing owls to Athens. For decades, attempts have been made to give the private company with a public mandate a fairer distribution of the income generated from the cross, but due to the structure that the more sales you generate with your music, you also receive a higher and higher share from GEMA the “common” musician only gets the breadcrumbs that he is assigned as an affiliated member.

6.) Once a good thing, as a musician you received your Christmas bonus in the form of a percentage distribution on all sound recording sales in December. This “gratification” was canceled overnight without giving any reasons. Just think about whether you would carry out such an action in the public service or other service sector. But a real musician has no means of exerting pressure. What should you do as a threat? Strike? Don't write songs anymore? But the municipalities are shaking. The value of art in general beyond the subsidized cultural institutions in Germany has only just become apparent during the Corona pandemic. “Not systemically relevant”, or in other words, unimportant and without measurable value.

Let's make it short. Of course, established bands live by their name and still manage to generate enough sales until their final expiry date, which has already been mercilessly overused by some artists, to be able to lead a good to very good life. But anyone who now cites the perhaps five newcomers who have achieved a certain reputation worldwide within a year as a counter-argument and forgets the thousands upon thousands of bands who operate music as a subsidy business and looks away with a glorified look is indulging in an illusion . To get to the point, the classic band that makes it to the top both artistically and economically within the band will no longer exist in the future and will instead be replaced by countless hobby bands who have to perform at maximum cost price. If you ever plan to start a family and support it as a sole earner, you should definitely choose another career.

So, at the next party, always remember that your musical newcomer, who makes a living from music, most likely has one or more other irons in the economic fire, or he may earn significantly less than the cashier at Aldi. But that doesn't mean you can't have a great party with him ;-)

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Additional Informations:

The pursuit of a career in music is often fueled by passion, creativity, and a deep love for the art form. However, the financial landscape for musicians can be as diverse as the melodies they create, with income sources ranging from live performances to streaming royalties. In this comprehensive analysis, we delve into the intricacies of musicians' average incomes, exploring the various revenue streams, disparities across genres, and the impact of the evolving music industry.

I. Live Performances:

A. Income Range:
   1. Musicians often rely heavily on live performances as a primary source of income.
   2. The income from gigs can vary significantly, ranging from modest payments at local venues to substantial fees at major festivals and concert halls.

B. Considerations:
   1. Venue size, location, and the artist's popularity all influence the earnings from live performances.
   2. Expenses such as travel, accommodations, and equipment can impact the overall profitability of a tour.

II. Streaming and Digital Sales:

A. Income Range:
   1. The rise of digital platforms has transformed the music industry, offering musicians new revenue streams.
   2. Streaming royalties, however, can be relatively low, with artists earning fractions of a cent per stream.

B. Considerations:
   1. Platform choice, audience size, and region can affect streaming income.
   2. Diversifying digital sales through platforms like Bandcamp or Patreon can provide additional revenue streams.

III. Record Sales and Physical Merchandise:

A. Income Range:
   1. Traditional record sales have declined, but physical merchandise remains a lucrative revenue source for many musicians.
   2. Vinyl records, CDs, and merchandise sales at live shows contribute significantly to artists' incomes.

B. Considerations:
   1. Independent artists may benefit more from direct-to-fan sales, retaining a larger share of the profits.
   2. Creative and visually appealing merchandise can enhance sales and fan engagement.

IV. Royalties and Licensing:

A. Income Range:
   1. Musicians earn royalties through various channels, including radio airplay, TV, and film licensing.
   2. Licensing deals for commercials, movies, and TV shows can provide substantial one-time payments.

B. Considerations:
   1. Success in securing licensing deals often depends on the artist's visibility, genre, and the potential fit of their music with a particular project.
   2. Joining a performing rights organization (PRO) helps musicians collect royalties for public performances and broadcasts.

V. Teaching and Session Work:

A. Income Range:
   1. Many musicians supplement their income through teaching music lessons or participating in session work.
   2. Session musicians can earn fees for recording sessions and live performances with other artists.

B. Considerations:
   1. Teaching opportunities vary based on the musician's expertise, reputation, and local demand for music education.
   2. Session work often requires networking and versatility in playing different styles of music.

VI. Challenges and Disparities:

A. Genre Disparities:
   1. Income disparities exist across music genres, with pop and mainstream genres often yielding higher financial returns.
   2. Musicians in niche or experimental genres may face challenges in monetizing their work.

B. Emerging Artists:
   1. Emerging artists often struggle to establish consistent income streams, especially during the initial stages of their careers.
   2. Building a fan base and industry connections is crucial for unlocking diverse revenue opportunities.

VII. The Impact of the Evolving Music Industry:

A. Digital Transformation:
   1. The shift from physical to digital formats has altered revenue models for musicians.
   2. Adaptation to digital platforms and social media is essential for reaching a wider audience and maximizing income.

B. Advocacy and Fair Compensation:
   1. Ongoing advocacy efforts seek fair compensation for musicians, particularly in the context of streaming royalties.
   2. Awareness and support for musicians' rights can contribute to a more equitable financial landscape.

Conclusion:

The average incomes of musicians are a complex interplay of various factors, from the genre they specialize in to the platforms they leverage and the diversity of their revenue streams. While challenges and disparities exist, the evolving music industry offers both opportunities and hurdles for artists navigating the financial aspects of their careers. Ultimately, the pursuit of a sustainable music career requires a multifaceted approach, combining artistic passion with strategic business acumen to thrive in a dynamic and competitive landscape.

FEATURE: Team Spirit In A Band

 Often invoked and never questioned as often as in recent years, the legendary team spirit in a band. While the music industry has been doing everything for decades to make a “real” band with all of its individual musicians appear obsolete, keyword Superior Drummer 3, prefabricated loops, Melodyne and much more, the image of the “4 Friends Harmony” is still the ultimate one External representation for the classic rock / pop fan. While the typical electronic musician has always been used to carrying out any form of frequency formation alone in a quiet little room, the majority of the newly created constellations still cling to a band construct, which was invented over 7 decades ago for purely technical reasons (“we don't have any volume down there, we need a bass player”). Nowadays you have more of a problem making a bassist audible in the dead-compressed downtuning stick area, but that's a different story.
Why is team spirit still so important in a band?
To answer this question, you should first answer the question of why you make music at all. Let's leave out the area of professional musicians, who are in the constant battle of "art versus money" and only deal with the clientele of "ambitious hobby musicians", who are also responsible for over 90% of the total sales in the musical instrument sector draws.
Yes, exactly, ask yourself why you make music. The two classics “fun” and “joy” are probably coming straight out of the box, which are also the central driving force behind an activity in many other leisure activities. If you dig a little deeper, you will probably also see the areas of recognition and popularity. A lot of the colleagues who started making music with me made no secret of the fact that their goal was almost exclusively to get to know girls more quickly, but that's another story.
So what does this have to do with team spirit? Well, as we have already read, technically speaking, you no longer need fellow musicians these days, as the technology and craftsmanship, whether with or without preparation, will be completely taken over by machines, and in a few years will also be completely taken over by AI. Maybe the answer can be found if you consider that the greatest songs of all time, at least in the rock / pop sector, were always composed and written by at least 2 musicians. Why? Because you can manage your creativity better, faster and more effectively when you work with other musicians, rather than having to spend a lot of your energy making sure you don't repeat yourself by constantly inbreeding your own ideas. This means that the more people you can place around you who are pulling together with you, the faster it will move in the direction in which you want to move.
It makes a big difference whether one person is responsible for text and music, or whether this area is divided, for example. I know top composers who can't get a deeper line of text out of it and lyricists who can't offer a proper harmonious progression to their statements. Finding out individual strengths in the creative process is the be-all and end-all of every successful collaboration. “Is it all that simple?” No way…

The optimal band constellation
If it were that easy to put together a “good” band, the world would probably be full of happy musicians who go through life holding hands and singing Kumbaja. Instead, the world is full of partly hopeful approaches, which after a comparatively short time only leave behind scorched earth in combination with a great loss of invested energy and time. Why is that?
If there's one thing I've learned in my time as a musician/producer, it's the fact that I only want to surround myself with people I like and respect, although the relationship can vary depending on the person. Everyone has probably had a musical “colleague” in their life who was a real enrichment for the band in terms of their craft, but who, apart from their instrument, was such a human disaster that, strictly speaking, you didn't even want to be in the same room with them.
Such a constellation is always doomed to failure, it's just a question of when the bomb will go off. This usually happens shortly before a big opportunity for the band, such as a lucrative tour offer or otherwise climbing the next rung on the ladder of success. Believe me, no one can provide as much benefit to a community in terms of craftsmanship as to make it worth putting up with an unpleasant person in your free time. Therefore, seek conversation, address the problem, allow time for improvement and if that doesn't work, get out of it. One rotten fruit in your fruit basket will ruin your entire harvest!
Who does what or the chief/Indian problem
Sometimes you could get the impression that a typical band is divided into two camps beyond the operation of their instruments: the band members who do almost everything and those who do almost nothing. Isn't it almost always the case that the person who writes the songs also takes care of the booking, books the van, maintains contact with the organizer, arranges the hotel, creates the schedule, creates the merchandise, does the billing, the rehearsal room paid, looked after the technology, fed the social media and so on. Wouldn't it make much more sense to divide the diverse tasks within a band equally so that on the one hand you don't have a constantly overworked and overworked "maker" and on the other hand a latently bored fellow musician who complains with the humorous statement " “I can’t do it as well as you” leans back and takes the fruits of other people’s labor with him?
I'm currently thinking hard about whether I've ever come across a band in my entire life that divided the work equally between each other so that the bottom line is maximum efficiency. I don't believe. What makes a big difference is the form of booking. I know some bands that handle it in such a way that the person who organizes a show stays in contact with the organizer and can keep 10 - 20% of the fee for themselves in return for their performance. This means that the person has an incentive to try harder to get shows.
Everything else should be distributed equally among the band if possible, because this is the only way to ensure a balance in terms of work performance and team spirit. There may be exceptions but no one, really no one around me doesn't get green pimples when it comes to social media. This constant, daily delivery of content and the associated promotion of your band until it is no longer possible sucks you out completely if you are serious about the band. After songwriting, this area has become by far (unfortunately) the most important point within a band. If this also needs to be done by the band's main songwriter, you can close the place down almost immediately. If you can show team spirit, then it's in the areas that no one enjoys and it's precisely in these areas that you can see whether a band can survive.
However, the greatest explosive power for a band is the financial area. As soon as the first measurable income flows, even if it is only comparatively small income, everything changes within a band. Long-suppressed issues, combined with very individual sensitivities, make this topic a minefield of a very special kind. However, I would like to consciously exclude this topic because it is far too extensive and would probably require its own article. We are therefore focusing on a constellation that can cover the travel and technical costs with the fee and generate a small profit through the sale of merch.
The bottom line is that nothing makes a band more resistant to external influences than a good team spirit, although this also requires that you speak with one voice and have exactly the same idea of the band's career. You should keep in mind that even the biggest bands in the world, perhaps apart from Led Zeppelin, did not reach their peak with the founding line-up, so make the right decision in good time. For every door that closes, a new one opens.

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Additional Informations:

In the dynamic and collaborative world of music, a band's success is often contingent on the cohesion and synergy among its members. When a music band fails to stay unified and individuals pursue their own paths, a once harmonious ensemble can quickly devolve into discord. In this detailed exploration, we will delve into the myriad consequences that can unfold when a music band loses its unity and each member ventures down a divergent musical journey.

I. Fragmented Musical Identity:

A. Loss of Unified Sound:
   1. Without collective vision and collaboration, the band may lose its distinctive sound, making it challenging to stand out in a saturated industry.
   2. Individual pursuits can lead to a disjointed musical identity, causing confusion among fans and potential industry connections.

B. Creative Stagnation:
   1. The lack of collaborative input and shared creativity often results in individual members stagnating creatively.
   2. The absence of diverse perspectives can hinder the band's ability to innovate and evolve its musical style.

II. Deteriorating Relationships:

A. Interpersonal Strain:
   1. The breakdown of communication and collaboration can strain relationships among band members, leading to resentment and animosity.
   2. Trust issues may arise as members prioritize personal ambitions over the collective goals of the band.

B. Erosion of Team Dynamics:
   1. Team dynamics, once the bedrock of a successful band, can disintegrate as members pursue separate interests.
   2. The sense of camaraderie that fuels creativity and resilience may be lost, negatively impacting the overall morale of the group.

III. Impact on Live Performances:

A. Inconsistent Performances:
   1. Without unified preparation and rehearsal, live performances may become inconsistent and lack the tightness that defines a professional band.
   2. Individualistic approaches can lead to conflicting onstage performances, disrupting the overall cohesiveness of the band's presentation.

B. Audience Disconnect:
   1. The disconnect among band members can extend to the audience, resulting in a lack of engagement and emotional resonance during live shows.
   2. Fans may sense the disunity, affecting their loyalty and diminishing the band's overall appeal.

IV. Dwindling Opportunities:

A. Limited Booking:
   1. Venues and promoters may hesitate to book a band with internal conflicts, fearing unreliability and potential disruptions.
   2. The band's reputation may suffer, limiting opportunities for lucrative gigs and collaborations.

B. Industry Skepticism:
   1. The music industry is highly competitive, and a disunited band may be perceived as unprofessional or unreliable.
   2. A lack of industry support can hinder the band's chances of securing record deals, endorsements, and other valuable opportunities.

V. Impact on Recordings and Releases:

A. Hindered Productivity:
   1. Disparate goals and priorities can impede the band's ability to complete recording projects in a timely manner.
   2. The quality of recordings may suffer as a result of compromised collaboration and communication.

B. Incoherent Discography:
   1. A band that drifts apart may release music that lacks thematic coherence and a consistent narrative, diminishing the impact of their discography.
   2. Fans may struggle to connect with the band's evolving but disjointed musical output.

VI. Long-Term Consequences:

A. Band Dissolution:
   1. If the disunity persists, it may lead to the eventual dissolution of the band as members pursue separate musical endeavors.
   2. The dissolution can be accompanied by legal battles over band assets, branding, and intellectual property.

B. Impact on Individual Careers:
   1. Members who veer off on their own paths may face challenges in establishing successful solo careers, particularly if the band's breakup is marred by negativity.
   2. The fractured reputation of the band may linger, affecting individual members' credibility within the industry.

Conclusion:

The consequences of a music band losing its unity and each member pursuing individual paths are far-reaching and multifaceted. From the erosion of a unique musical identity to strained relationships, diminished opportunities, and potential band dissolution, the fallout is a cautionary tale for aspiring musicians. Navigating the complexities of interpersonal dynamics and prioritizing collective goals over individual ambitions is crucial to sustaining a harmonious and enduring musical journey. Only through commitment to the shared vision can a band weather the challenges of the industry and leave a lasting impact on the musical landscape.

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.

FEATURE: Real Amps vs. Simulation Amps

 I can't remember the last time I heard that the first thing a young guitarist did was buy a real, analog amp, possibly an all-tube one. Sure, you've heard from some old men that they're supposed to be "better," but hey, my Apple computer runs GarageBand and all the amps are in there. And they aren't that difficult either. And they aren't that loud either. And above all, they are not that expensive. And above all they are one thing, an inferior, poor-sounding attempt to use the reputation of legends to tell people about horses. You don't believe me? So then, here are 9 reasons why you should stay away from Sims if you're a serious musician.

Before I forget, I'm not talking about the Kemper sampler (also known as a profiler), today it's all about speaker or amp simulations, which are now included with every DAW or can be purchased for a few euros. First of all, one thing to all critics, if you are completely satisfied with your sound or if you generate a lot of sales with the same sound, go for it. I have colleagues myself who play large festival shows with VST plugins. The guitar sound is pathetic every time, but the audience doesn't care at all, only a few left the audience and if they did, then probably only a few because of the guitar sound. I was one of them...

1.) Sims comes from Simulation

Of course it's obvious, but perhaps it's worth remembering for a moment. All of the software amps mentioned are nothing more than an attempt to get as close to an analog amp in terms of sound as possible. On the other hand, visually it's a murderous spectacle and it's sometimes really difficult not to fall for this high-quality Punch and Judy show, but in a 1:1 comparison to the copied original you can sometimes just laugh out loud. I've heard simulations from Diezel, Mesa Boogie or VOX Amps where you can't believe that an established manufacturer is serious about this, even though there are tons of algorithms that use IR or something similar to try to understand the complex signal chain Calculate the amplifier, box, speakers and microphone. Can this work? Well, it works just as well as flying a real 747 or practicing in a flight simulator. The principle is the same, but the differences are immense. Perhaps at some point in the distant future there will be the possibility in quantum computing to copy the response and resonance behavior of an analog amplifier so perfectly that a difference is no longer noticeable, but at this time the music will only be generated by avatars anyway. so this point really no longer plays a role.


2.) Too much choice reduces creativity

Anyone who doesn't just concentrate on copying a sound or song, but also brings their own creativity into play through songwriting, will know the problem. At the push of a button you can load hundreds, even thousands of amp / cabinet / speaker / microphone simulations into your DAW, so that you can spend hours searching for the optimal sound from the intro riff, even before you find the first hook or the first one line of text is written.

If you have one or perhaps two high-quality amps, you take a good basic sound and first work out your song framework and then structure the sound around the song. Today, guitarists are like the keyboard players of the eighties when the classic Roland D-50 or Yamaha DX-7 appeared in the studio. Preset 1, no, it's not that one, Preset 2, no, it's not that one either and so on and so forth. I've spent hours of my life next to keyboard players picking a chord and stepping through their presets from 001 to 999. Terrible!


3.) The eternal enemy of perfect timing, latency

Of course, computers are getting faster and the problem of latency is getting smaller, but it will never stop. The famous sentence “below 25 - 30 ms you won't hear any difference during recording” is simply nonsense! This may still be true to some extent for strumming, but when I play a staccato riff or lick, even with a latency of less than 20 ms, I feel every single delay and am constantly inclined to play further forward, which then comes at a massive expense to the timing.


4.) The resale value

Have you ever tried selling software? Has anyone been successful with this? I may be wrong in certain areas, but anything in digital form has virtually no value because it can be hacked, cracked, or simply copied, making it accessible to anyone. What everyone can have has no value, see Spotify.

With an analog amp, you have a product that you can sell well even after decades and that will also increase in value depending on the manufacturer's company policy. For example, in the eighties I once had two pieces. Bought Marshall 2204 top parts that were rarely used and spent most of their lives in professional flight cases, meaning they are actually brand new. Some time ago a colleague told me that Marshall stopped producing these amps years ago. You can imagine the rest...


5.) Even cheap analog amps sometimes offer good to very good quality

The killer argument “But I don’t have any money” cannot generally be used. There are plenty of amps, some even full-tube, that deliver good sound on a small budget. The Nano Amps or the Ampman series from Hughes & Kettner or the amps from Joyo alone offer above-average sound and are available for a comparatively low price.


6.) Fun

Guitarists love equipment, most of them are complete nerds in one way or another. Anyone who has ever stood in front of an official full stack, even if it is not switched on yet, can feel the terrifying presence of this monster. That makes an impression, that makes you proud, that's fun. How much of an impression does a window pop up in your DAW?


7.) Take money for something everyone has at home?

For those of you who are more advanced and perhaps run a budget studio at home, why would someone want to work with you if you just offer them the same plug-ins that everyone has at home. Working in the studio has to be worthwhile by expanding your sonic horizons; you can't achieve that with sims. By the way, if you are afraid of the immense volume of some amps, use the Grossmann Isolation Box ( https://www.amazona.de/test-grossmann-sg-box-isolationsbox-fuer-gitarristen/ ) or the Fryette Power Station ( https: //www.amazona.de/test-fryette-power-station-power-attenuator-und-roehrenendstufe/ ) you have two high-end products at hand that will help you achieve a top guitar sound even at room volume.


8.) Knowledge is power

Anyone who has ever done it knows what I'm talking about. Recording an amp including a cabinet and speaker with the right microphone(s) is an education in itself. It's not for nothing that in the glorious eighties, when the record companies' budgets were endless, there were dedicated drum and guitar sound technicians, simply because the possibilities for the perfect sound are almost endless. Unfortunately, the possibilities for a complete garbage sound are also endless. Anyone who has ever really worked with their amp will learn tons of specialist knowledge that will benefit them throughout their life. This is something you should definitely take with you as it takes you to a whole other level when it comes to respect.


9.) Find your own sound

There is nothing more boring than finding the same sound over and over again on all recordings. Even if the majority of the guitar sound still comes from the fingers, the individual signal chain can also support a large part of the musical personality. If you work with Sims, you can move virtual microphones around and swap virtual speakers, but it's always the same 4-5 microphone emulations, 4-5 speaker emulations and all positions sound the same on all DAWs. Individuality? Zero!

Conclusion

What do we learn from all these points? I mean no offense, but amp simulations have always been nothing more than a bonus from DAW manufacturers to attract guitarists as customers. It worked great, I would have done the same as a marketing manager at Logic or Steinberg. But what may work well with high-end plugin manufacturers in the pro area regarding compressors, enhanced audio, etc. does not work for 5 cents in the guitar area.

Take lessons, learn from experienced colleagues and ask all the experts questions to deepen your knowledge, but forget about working with guitar sims, it's not even worth the time it takes to boot up your computer.

In this sense …

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Additional Informations:

The landscape of music production has undergone a transformative journey with the advent of Digital Audio Workstations (DAWs). One notable innovation that has significantly impacted the way musicians and producers approach recording is the development of amplifier simulation plugins. These plugins, commonly known as amp sims, aim to replicate the sonic characteristics of traditional guitar amplifiers within the digital realm. This comprehensive report delves into the evolution of amp simulation plugins, exploring their origins, technological advancements, and the profound impact they have had on the music production landscape.

*1. Early Beginnings:*
   - The concept of emulating guitar amplifiers digitally emerged in the late 1990s and early 2000s.
   - Standalone amp modeling units were among the first attempts to provide a portable solution for guitarists seeking a variety of tones in a single device.
   - Initial software-based amp simulations were basic, offering limited customization options and often lacking the realism needed to convincingly replicate analog amplifiers.

*2. Technological Advancements:*
   - **Digital Signal Processing (DSP):** The integration of advanced DSP technology played a pivotal role in enhancing the authenticity of amp simulations. This allowed for more intricate modeling of analog circuitry and components.
   - **Convolution and Impulse Responses (IR):** The use of convolution technology, combined with high-quality impulse responses, enabled developers to capture the unique sound characteristics of specific amplifiers, cabinets, and microphones, providing a more realistic simulation.

*3. Rise of Plugin Developers:*
   - As DAWs gained popularity, third-party plugin developers began to focus on creating amp simulation plugins that could seamlessly integrate into the digital recording environment.
   - Companies such as Line 6, IK Multimedia, and Native Instruments were at the forefront of developing comprehensive amp sim suites, offering a wide array of virtual amplifiers and effects.

*4. Real-Time Processing and Low Latency:*
   - Improvements in processing power and optimization allowed for real-time amp simulation with minimal latency, making it feasible for musicians to incorporate amp sims into their live performances and recording sessions.
   - This development marked a significant shift, as guitarists could now access a vast collection of iconic amplifiers without the need for physical hardware.

*5. Customization and Flexibility:*
   - Amp sim plugins evolved to provide extensive customization options, allowing users to tweak parameters such as gain, tone, and speaker type with precision.
   - Rigorous attention to detail in modeling various components of an amplifier chain, including preamp, power amp, and speaker, contributed to the versatility and flexibility of these plugins.

*6. Integration of AI and Machine Learning:*
   - Some modern amp sim plugins leverage artificial intelligence (AI) and machine learning algorithms to analyze and replicate the tonal nuances of specific amplifiers, responding dynamically to playing dynamics and input.

*7. Industry Standardization:*
   - Amp simulation plugins have become industry standards, widely accepted in professional studios and home setups alike.
   - The versatility of these plugins has expanded beyond guitar amplifiers, with simulations of bass amplifiers and other vintage gear becoming commonplace.

*8. Collaboration and Expansion:*
   - The music industry has witnessed collaborations between software developers and renowned amplifier manufacturers to create officially endorsed amp sim plugins, further bridging the gap between analog and digital realms.
   - Continuous updates and expansions of amp sim libraries ensure that musicians have access to the latest and most sought-after amplifier models.

*Conclusion:*
   - Amp simulation plugins have revolutionized the music production process, offering musicians and producers unprecedented access to a vast array of iconic amplifier tones within the convenience of their DAWs.
   - The ongoing evolution of these plugins, driven by advancements in technology and a commitment to sonic authenticity, continues to shape the future of guitar recording and production, cementing amp simulations as indispensable tools in the modern music production toolkit.