Got My First Real Six-String

By Howard Rabach, Session Bassist and Producer: see www.hrbassman.com or www.machineroomstudio.com.

So you want to learn how to play guitar! Just head to the closest strip mall and...

Woah! Slow down there. True; it is possible to purchase a brand new item labeled as a ‘GUITAR’ at a ‘big box store’ for under $50.00. It’s also possible to purchase a used automobile for a similar price, but would you get behind that steering wheel? Let’s face it - most of these instruments were poorly constructed and mass-produced, made with below-market-grade parts, in factories that produce slippers, dinette sets, or soap dispensers.  

You don’t have to spend a ton of money to buy a first guitar; I’d strongly caution against it. There are many well-constructed, very playable instruments that can be purchased for under $500.00. Acoustic guitar prices can vary wildly, with some custom-made instruments going for tens of thousands of dollars - and more!

How To Begin


Do yourself a favor and go to an independent, “brick-and-mortar” store in your area.  Don’t know one? Get a recommendation from a musician you know, or the person who owns the local CD/record store, or the manager of a local live music venue - even check Facebook. When I recommend a store to my students, I do so based on the following criteria:


1. A high level of patient service before, during, and after the sale
2. The collective knowledge of the staff
3. The price and quality ranges of instruments in stock
4. They are non-commissioned employees (little pressure on you to buy anything)
5. The reputation of these stores among musicians and teachers


These shops want to build a relationship with you, so they should make your experience a good one. They’ve built their reputations and clientele on providing a level of service that continues to earn them lifetime customers.

[Ed. note: We highly recommend Chuck Levin's Washington Music Center for their outstanding service, huge selection, and location right off the Metro. In Baltimore, our go-to resource is Bill's Music.]

Kicking The Tires

OK...you found a store that seems to have a good selection and some nice folks inside.  But what do you do when you walk in?  If no one has greeted you yet, walk up to the counter and tell them you’re a beginning guitar student, and need a lot of help to pick the right instrument.  Most likely, you’ll get a smile, maybe a pat on the back, as they walk you over to a wall peppered with dangling guitars.  Now get comfortable.

An experienced and knowledgeable salesperson (who is most likely a musician as well) should be able to show you at least 2-3 instruments that would be good choices.  Are you going to be taking specialized lessons (like classical, jazz, or flamenco?); this information is important to help guide the salesperson’s choices, so let him/her know.  Generally, the instrument should be comfortable to hold, you should like the tone it produces, and it should look cool - to you.


While it’s important to give the salesperson an idea of your budget, keep in mind that a well-built, entry-level instrument will most likely cost somewhere between $300 and $500, not including extra sets of strings, a case, some picks…  In other words, be realistic when going in (a little pre-shopping on-line research could help).  


Speaking of accessories, some guitars come with a bag or case, but many don’t.  Often though, the included case is nothing more than thin plastic with a zipper that won’t offer any protection at all.  It is a smart investment to purchase a solidly constructed “gig” bag (soft-case) made from heavy-duty padded nylon, solid zippers, handles, and optional shoulder straps.  That said, unless it comes with one, don’t feel obligated to purchase a heavy hard case built for travel.  It adds weight, it’s cumbersome, and it’s unnecessary.  

Set-up

Once you’ve settled on a guitar that you want to buy, inquire about a “set-up” for the new instrument.  Some stores will include related services when you purchase a new instrument, but most do not.  That said, the cost for this service tends to be reasonable, and helps make the instrument really playable from the beginning.  I’ve paid an average of $70-$80 for a good setup.


A “set-up” usually consists of the following things…


1. Strings: You don’t know how long those strings have been on that guitar, and how many people have tried playing it before you arrived.  Fresh strings breathe new life into a guitar (a set should cost somewhere in the $5 -$10 range; installation should be included in the setup fee) 
2. Adjust the “action”: Running inside the neck of your guitar is a long, metal screw (truss-rod) fastened at both ends.  An experienced guitar repair technician will make adjustments to this so the strings are the appropriate distance from the fretboard in order to make it easier to play.
3. Check/tune-up the hardware: The tech will also look at the tuning machines, the bridge, the individual string saddles, the nut - everything - to make certain they are all in fine shape and working properly.
4. Overall clean and polish: Your instrument should look better than when you brought it in!


Ask for a couple of sets of appropriate strings; your guitar teacher should spend at least one lesson demonstrating how to tune your guitar, and how to change strings.  Everyone breaks a string at some point; be a good scout and be prepared - buy more.  


Some new guitars will come with a polishing cloth, as it’s really important to wipe down the instrument when you have finished playing it for the day. Overtime, oils and dirt from your hands can age the strings more quickly, and in extreme cases hurt the finish of your instrument. A wipe down after playing can help prolong the life of your instrument. If your model does not come with one, grab one from your linen closet at home and keep it in the guitar case (an old concert shirt works fine too).


If you’ll be learning to use a pick make sure to have the salesperson include a few medium or heavy gauge picks. You’ll develop a preference for certain types of picks and strings as you become a more experienced player. 


Make sure to invest in a decent electric tuner. There are battery-powered models, many under $20, built to clip right onto the headstock of your guitar with a brightly lit screen that will guide you to keeping your instrument in tune. Have the salesperson show you a few models, and demonstrate how they operate.


One item I always recommend to my students, is a string winder. When you replace a string on your guitar, it takes quite a few turns of the tuning peg to first undo the old string, and then to tune up the new one. A string winder fits right on to the tuning machine; you turn the handle, and it provides non-stop motion, tuning your string up or down much more quickly, without hand strain!  


Some string winders have a built-in pair of wire-cutters, which are necessary to trim strings to the proper length. If the store does not stock that model, purchase a small pair of wire cutters from a hardware store to keep in your case.

You’ve Been a Wonderful Audience

Take care of your guitar and it’ll take care of you. If you maintain your instrument it will feel easier and more comfortable to play, which will make practicing and lessons fun.  At the very least, if you’re still playing in a few years, and want to “trade up” to a more luxurious model, the sale of your well-maintained instrument could provide a healthy down-payment. Yes, there is a lot to learn, but remember: your teacher and your guitar shop are there to help. As I often tell my own students, “The only stupid question is the one you don’t ask.” Good luck, and keep on strumming!

Best Places in DC to Take Your Flashband Friends after Practice

By Deborah Lash, Flashband’s Community Coordinator

DC is such a small town. Everyone hangs out at the same bars, goes to the same venues and drinks the same coffee, right? ...Not so much. Here are a few fresh ideas for where to go after you wrap up band practice. We promise, they’re worth the visit! 

Songbyrd Record Cafe
2477 18th St NW

Songbyrd is a newer cafe and “music house,” bringing good food together with a recording studio in Adams Morgan. We’re got our eyes on one of the Byrd Burgers and a Ward 1 cocktail, but take some time to browse their vinyl collection and claim one of the listening stations to check out a new playlist or two. Stay tuned for their upcoming recording studio.

Crooked Beat
2116 18th St NW

If you haven’t been here yet, we might have to have some words. If you’re a regular, don’t forget to give them an Instagram follow so you can keep up with their newest finds and upcoming shows.

BloomBars

3222 11th St NW

Bloombars is more than just a venue; it’s a non-profit that’s dedicated to supporting our arts community. They host open mics, concerts, classes and community activities, so don’t wait to get involved if you see something you like. Check out their upcoming events and toss a few dollars their way, as they’re recouping from a recent break-in.

TreeHouse Lounge
1006 Florida Avenue NE

Get out of the usual small venues and try something new! TreeHouse Lounge welcomes bands of every kind, and it’s right by the H Street Corridor. A bunch of our Flashband alumni bands perform here regularly. Bring your own food or order from the pizza place next door. 

DC DIT

We love being a part of DC’s DIY scene, and there is so much music to find and experience all around town. These “Do It Together” musicians and artists collaborate to plan and book events “that matter to the soul of the DC community.” Get involved, and also visit DC Showspace for more underground shows you need to check out.

What's your favorite place to hang out and find new music in DC?

How to be Prepared for Your Big Moment on Stage

By Deborah Lash, Flashband's Community Outreach Coordinator

Everyone gets performance jitters. Even Flashband's most seasoned musicians get nervous before they get up there and play their hearts out. Here are our tips for being prepared for your next big show!

The Week Before

Practice, practice, practice. Sure, we say this all the time. But do you do it? Make sure to schedule enough time with your bandmates to work through any kinks in your songs. Think about what your performance might look like and do a little blocking, or mapping out of where you’ll be on stage. (And if you’re a singer, work on memorizing your lyrics.)

Give a test performance. Remember how you did that blocking? Now put it to the test. Call a few friends or Flashbanders over to rehearsal and give them a private show. We don’t mean playing 30 seconds of a song and asking them what they think; run through the whole thing, start to finish, and don’t ask for feedback until the end. Your friends know this is practice, but they’ll still get swept up in your music if you play like you mean it. Bonus tip: Ask one of them to record you so you can watch it afterwards. (If you like it, send it to Flashband so we can brag about you!)

Talk to your bandmates. Everyone gets nervous before a show. Sit down with your bandmates after practice, grab a drink, and talk it through. Is there an experienced performer in your group? Ask them for some advice. Just sharing your thoughts might help someone else feel better if they’re nervous, too. Bonding with your band will help you have a better show, so don’t hold back.

The Day Before

Clean your house. According to Princeton researchers, “The clutter competes for your attention in the same way a toddler might stand next to you annoyingly repeating, ‘candy, candy, candy, candy, I want candy, candy, candy, candy, candy, candy, candy, candy, candy, candy …’ Even though you might be able to focus a little, you’re still aware that a screaming toddler is also vying for your attention. The annoyance also wears down your mental resources and you’re more likely to become frustrated.” Give yourself a little time to do a once-over of your apartment, or, if you’re short on time, pick a smaller task and finish it. The sense of accomplishment will help you feel more confident, and having a clean space will calm you down. 

Dress like a rock star. If you know you look good, you’ll feel good, too. Plan out what you’ll wear and make sure it’s an outfit you feel comfortable and powerful in. Fans can tell when you’re not 100% focused on the performance, so make sure you won’t be distracted by pants that are too tight or sky-high stilettos. 

Call your best friend. Or your mom. Or both! Talking through your nerves with your bandmates is one thing. But talking to someone who loves you unconditionally is important, too, if only for the self-esteem boost. Call up someone in your life who will always answer, let them hear you out, and believe them when they tell you you’re great. (Because you are!)

The Moment Before

Slow down. You made it to the venue early and did sound-check. The space is filling up and your friends are almost there. While you have a few minutes, grab a glass of water, find a space by yourself, and take some deep, slow breaths. This will help you be a little more present and tamp down the anxiety. 

Pick up a good luck charm. Even if it feels a little silly, research shows that carrying an item that you feel is lucky will actually boost your mental and physical performance -- but only in situations where you can directly affect the outcome. So wear your lucky underwear, or borrow a friend’s lucky guitar pick. Whatever it is, make sure you’ve got it before you go on stage. 

Find your ritual. Musicians everywhere have little rituals they follow before they perform. What do you need to do to feel totally confident? Whether it’s noodling on your guitar outside, saying a prayer, or jumping around with your bandmates for a minute, do it. Rituals help you feel like everything is in place and ready to go. 

Get up there. Let the adrenaline take over, let the music flow, and let go of those inhibitions. You’re going to kill it!

What are your tips for getting ready to take the stage?

Meet the Musician: Ariela Fleisig, singer and harpist

This post profiles Ariela Fleisig, singer and harpist. She has participated in five Showcases and is currently working on projects with fellow Flashbanders, so keep an ear out!

 Like many others, I didn’t find Flashband; Flashband found me. I’d confided in a friend of mine who’s a talented local musician (Maryjo Mattea of Two Dragons & A Cheetah and Doctor Robert & Penny Lane; check her out!) that I’d always wanted to be the lead singer of a band, but that I thought it would never happen. She knew a few musicians who had great experiences with Flashband, and encouraged me to check it out.

A few months later, I finally decided to try out a jam. I was really, really nervous; mostly worried that I wouldn’t be good enough or that I wouldn’t know any of the songs people would want to play. Jamming can sometimes be tough for vocalists that way—we don’t always know what to do with just a random key or chord progression. Once I got there, though, everyone was really welcoming and friendly, and I soon found a great group of musicians to play with. 

To me, Flashband has meant the opportunity to live out a dream. I’d sung in choirs, a cappella groups, and even a competitive karaoke league, but to be in a band and really help shape the music I make instead of taking directions or using a cookie-cutter mold is a truly unique experience. 

To those who are new to Flashband, don’t be afraid to speak your mind, and if you’re extroverted like I am, make an effort to give everyone in the band an opportunity to be heard. Everyone deserves a say in whatever you’re playing, and that quiet bandmate you have usually has something valuable to share. 

Don’t be afraid to jam, especially you, vocalists! If you’re a singer and folks are jamming in a given key/chord progression or playing a song you don’t know, you can always scat or use words to other songs you know already.

People often ask me, “What genre do you sing?” and I always refuse to answer the question. There’s no need to stick to any one genre in the DC scene to be able to play and have your music appreciated. The beauty of our community is that musicians support and play with each other across genres rather than just forming homogeneous lineups. Everyone’s way more exposed to music they might not otherwise hear, and that allows us to make more interesting and completely new music. 

I also love to perform. When I’m on stage, I go by “Lala,” which probably sounds like I think I’m a real-life Mystique taking on the persona of an MTV VJ. The description’s not so far off, though—on stage, I feel like a completely different, more confident person. There’s no better feeling than taking all the energy from a crowd and giving it back tenfold. 

I’ve also grown a lot as a musician and a person. Every time I play with a new Flashband, I get to play with a completely new set of musicians, and every band has its own unique set of challenges to grow from. 

Music has always been intertwined with family for me. Most of my earliest memories involve music: dancing around to a song my mom was playing on the piano, learning my times tables by singing along with a tape, and even singing blessings with my parents and sister over holiday candles. To this day, whenever I’m with my mom in a car and “California Dreamin’” comes on, we roll down the windows and belt it out together. Music’s also my favorite therapy. I’ve gotten through the toughest times in my life by finding the right song and a friend and singing together.

Want to be featured in an upcoming Flashband Meet the Musician? Contact Deborah Lash for more info.

Meet the Musician: guitarist Joel Lopez

This profile features Joel Lopez, guitarist and six-time Flashband performer.

I was referred to Flashband by my buddy so we could go together and feel a little more confident. When we got there for the Meet and Greet, we didn’t know what to expect, but everyone there, especially the staff, was super friendly and helpful in organizing and making sure things went as smoothly as possible so it was not chaotic, especially for newbies like me. First experiences like this are always somewhat intimidating; however everyone’s positive attitude made the difference in the decision to continue. 

Flashband has definitely opened the door I needed to get involved in the music scene; I have found music camaraderie that I’ve wanted to be a part of for a while, but without knowing how. 

Before Flashband, I played guitar by myself, mostly either to backing tracks or jamming to my favorite songs. I did not have a sense of community when it came to music. Now I have met very talented musicians and have made some great friends. D.C is a city that is alive. There is always something to do in D.C and local music can always be found here. Why not be part of it?

Aside from the social experience, I have also progressed as a musician, learning what my strengths and weaknesses are in regards to playing with a band. Even though I will probably always over-analyze it, I know I will keep improving as long as I keep playing. 

Music is moving; it’s capable of lifting me up and enhancing my mood, and it expresses things that sometimes words can’t. It is a major outlet and hobby that I would like to have and share for the rest of my life.

I have been lucky enough to play in several Flashbands, including the Thanksgiving show (“TBD”), '80s Dance Party (“Those Loud MFers”), One Hit Wonders (“Only Never Lonely”), Animals (“Dead Vultures”), the Three Year Anniversary (“Flowstate”), and the Public Domain Showcase (“Noize”). I've also played a couple of non-Flashband gigs with the members of Flowstate, going as Flowstate Live. I mainly play guitar, although I dabble with piano mostly for looping purposes for guitar melodies.

To anyone who is new to Flashband, I say have a positive attitude towards everything, communicate with your band members or jam buddies, and attend local shows and other Flashband events to get a better idea of what it’s like. And practice, practice, practice. 

Meet the Musician: Roberto Giberti, guitarist and bassist

This profile features Roberto Giberti, guitarist, bassist and five-time Flashband performer. 

Flashband is definitely the best place to be if you need to explore music and know other musicians in DC. And behind every unknown musician you can find a surprise, a talent, a passion, and a different style, so it’s good to be in this mix.

I’m not American, but it looks to me that it’s quite challenging to play in DC, at least compared to other cities where I’ve played, like San Francisco, San Diego and Toronto. A few months after I moved here, I was losing hope to play. I was looking for other musicians because I wanted to form a band. Then I met Flashband. I used to play guitar, then I switched to bass just because it was easier to join a band. But actually I found out that I enjoy bass way more than guitar now.

It was great to meet so many musicians in the same spot at my first Flashband event. And I really liked the organization in every step, from the website to the Meet and Greet to the showcase. The staff made me feel very welcome, and the other musicians made the rest. Also, the partnership with the 7DL works perfectly, because it’s a great place to practice and—of course—to meet other musicians.

For me, the value I have gotten from Flashband is not so much playing at the Showcase, because I have had the opportunity to play quite a few gigs in the past—mostly in Italy, where I come from. So actually the great value of Flashband for me is networking. I really hope that more and more musicians will populate DC in the future, and more venues will accommodate more gigs.

Don’t get stuck in a rehearsal room. Try to gig as much as you can; even a simple open mic can teach you how to express yourself in a new situation, and build the right chemistry with the audience.

How can you live without music? How can you celebrate without music? What other company you can have when you are lonely? What’s the best vessel for poems, thoughts, speeches and prayers? You see… It’s impossible to live without music!

Want to be featured in an upcoming Flashband Meet the Musician? Contact Deborah Lash for more info.

Meet the Musician: Matt Febles of District Sky Punch

This profile features Matt Febles, member of District Sky Punch and eight-time Flashband Showcase performer. 

I've really benefitted from Flashband, probably more than most. The idea was to meet people after living here for a little while, and do something to replace what I liked to do in my spare time back home in New York. I was a high school track and field coach and a marathon runner for over 10 years up there, and those were all my social connections. But I couldn't find a good coaching job down here, and I was injured and unable to run for a while, so I was going stir crazy and getting very homesick. By joining Flashband, I made new friends and found out I had decent musical ability, or at least that I was in demand as a bassist. And I was getting a chance to do something I always wanted to do, but just hadn't tried before.

My first Flashband was We <3 the '90's last April with Vaguely Phallic (what's up Keith, Steph, Arthur and Steve!). To be totally honest, it was the first time I'd played music on stage in public. My hands were shaking, but as soon as the music started I relaxed and nailed my parts in the first song, which wasn't an easy one, I might add. (It was "In The Meantime", by Spacehog, and that bass line is a beast!)

At my third or fourth Flashband, the FlashBanned showcase for Banned Books Week. I was in a group with Cody Valentine, Jeremy Libre, Daniel Rothman, and Keith Guthrie; we were called the F Bombs, and we only played the Showcase and two other shows, but they were really electric. We just clicked and even the practice jams were amazing. I don't know what it was exactly that made it work, but that's something I'll always cherish, and for what its worth, that's the thing I try to repeat now with every group I'm in. We just jammed again last week with everyone except Keith (who moved to Portland), and pretty much the same thing happened: We took off like a rocket, with amazing chemistry. That's what I hope everyone can get out of Flashband or any musical collaboration—something unique and inspiring that you try to duplicate over and over.

I play bass, and I always have, because I love it. I also play acoustic guitar sometimes to learn songs, practice vocals, write originals, and do serenade sing-a-longs with my wife, Maria.

District Sky Punch is my main band. We are a local band that's recorded an EP, and have had our music played on college radio nationwide. We write beautiful, eclectic songs, and my bandmates tolerate my weirdo jazz-funk-metal bass tendencies. I was referred to them by Miles from 7Drum (thanks dude!). I also played bass for Fellowcraft when they started and had a blast playing a ton of shows with them around DC. I continue to play with The Higher Numbers, and a few other Flashband alums at ongoing jams, with occasional gigs. And I still play occasionally with a Meetup group called DC Rockers; that's really where it all got started for me.

To other musicians who are starting out, be open-minded, and be prepared for anything. I got lucky in that the way I used to practice at home worked exactly like the Flashband Meet and Greets usually do. I used to just play along to albums, playlists, and the radio, quickly learning and improvising by ear to whatever came on next. No tabs or sheet music; just playing along by ear. Try to be like a jukebox and get the chords right or close, at least, since you can learn how to play YYZ note for note later!

The best part of being a musician in DC is meeting people, like all the bandmates and friends I've made from Flashband: Neal, Miles Ryan, Cody Valentine, Sara Elizabeth Murphy, Dan Gage, Chetan Rao, JR MacDonald, Rico and Lainie, Fa, and many more... too many to list! I think we have the beginnings of a real music scene here, and given the state of the business of music, with the social media and local performance-oriented nature of what we do, I think we can make something really interesting happen here, that I would be happy to be a part of, in any way.

Playing bass and recording and writing original material has been a great experience and definitely something I want to pursue and continue working on as a bandmate, songwriter, and session musician. My coaching and training philosophy was always based on the idea of preparing for performance all the time, and being creative about challenges when it's time to perform. That background has made working as a musician easier, despite my admitted lack of experience. I'm looking forward to the next steps with Flashband, and the next phase of my musical development in general.

Want to be featured in an upcoming Flashband Meet the Musician? Contact Deborah Lash for more info.

Meet the Musician: Jon Ryan MacDonald, bassist, guitarist and Fellowcraft vocalist

This profile features Jon Ryan MacDonald, member of Fellowcraft and three-time Flashband Showcase performer. 

In my local band Fellowcraft,  I play guitar: a1981 Les Paul, lovingly known as "Betty," and I do most of the vocal duty. In Flashband, I have played bass, drums, and performed as a solo vocalist. Music is paramount to my very being, because, without it, I wouldn’t have much of a life. I have to play music. It's really that simple.

My first Flashband experience was at the Sounds of the '60s, at Gypsy Sally’s in Georgetown. I was a spectator. I was completely blown away by the talent that I saw. Each and every band was phenomenal. Some of them so good, that if they had had a t-shirt or a record, I would have bought it outright. It was amazing to see so many talented musicians performing on such a short timeline; in fact, it blew my mind. 

I later signed up for FlashBanned, the event to draw attention to the First Amendment and banned books. It was surreal. In all my days of playing, I have only ever started a mosh-pit once as a musician, and it was at Heaven and Hell with Flashband as we performed “Killing in the Name," one of Rage Against the Machine’s most iconic songs. 

To say that Flashband has changed my life is an understatement. First, it’s a way to keep my chops fresh between Fellowcraft gigs and rehearsals. I’m learning new songs, trying new techniques and even new instruments. 

Secondly it’s opened the door for me to the music industry in DC. I’ve met several important people, bookers, photographers, the owners of the rehearsal space, and so on. The connections that this organization has awarded me are unbelievable.

Last, and most importantly, it’s introduced me to so many amazing people and musicians. I have had a chance to play with so many great people, people that gone on to become fast and lifelong friends. I’ve watched bands form and go on to make a sizable legacy as DC acts away from Flashband. It’s really about the people; it’s amazing what happens when you get this many musicians together. We’ve become an extended family, and it’s incredible.

To new musicians, I say be yourself, but be open-minded to what you can accomplish outside your comfort zone. If you’ve never played punk, or metal, or indie, give it a shot. Try something new and put yourself in an uncomfortable place; you’ll be surprised with what you can accomplish. I’ve seen so many flowers blossom on the stages of Flashband Showcases, and from it, have come some truly amazing acts. That could be you, if you get uncomfortable and put yourself out there to be tested. 

I was so nervous when I first performed, so scared of messing up, but when I looked out and saw everyone jumping up and down to our band’s songs, it all washed away. I did mess up, but I didn’t care, and neither did the fans. It was surreal.

The best part of playing music in DC is the people you meet, and the connections you make. I try to make it a fun experience whenever I play, for our fans, our friends, our families and the bands that are with us on the bill. Music is about shared experience and unified expression. It's personal, and public at the same time. Every venue is a little different; the vibe or the mood… but each time I play, I feel the same euphoric rush that I felt the first time I ever played live. That’s why I do it. 

Want to be featured in an upcoming Flashband Meet the Musician? Contact Deborah Lash for more info.

Meet the Musician: drummer and Flashband veteran John Heinze

This post features drummer and Flashband veteran John Heinze. John has participated in 10 Flashband events, and performs with many local groups, including The Lucky So and So's (hip-hop with a twist of genre mash ups), Aztec Sun (funk and soul), The Fresh Hots (Jazz funks), and with Avervge (alongside a DJ spinning a hot mix of everything).

The Lucky So and So's

Three weeks into living in DC, I was at at a Flashband Meet and Greet at a house in Virginia. I was excited to meet people who played music. I play drum set, primarily, and I dabble with other instruments. (My secret dream is to be a guitarist singer/songwriter sitting on the porch when I'm 60.)

I hadn't really explored many areas of DC at all, so this was the first time I was going out and socializing. I basically came here with 36 dollars to my name, so I was cooped up in the house looking for work.

I really hadn't heard of anything like Flashband... And I really had a great feeling coming in and out of the Meet and Greet. The house was very welcoming and I felt at home with all the great people I met. I brought my snare drum and a cardboard box that acted as my kick drum. I was ready to jam!

I jammed with people but ended up socializing, and forgot I was supposed to find a band to play with for the event the following month. But I felt great about it. Then two days before the show I got a call from Rico, a brilliant and wonderful lad that I was talking to most of the evening. His band had lost their drummer and asked me to fill in.

Mustache of Numbers by WWDF? from john on Vimeo

We had a practice, and then played at Gypsy Sally's the day after. It's a great sounding venue with a nice stage and good people. It was a blast!

I was hooked and right away joined the next one, which was hip-hop themed. That is how I and The Lucky So and So's found each other.

I've met many great people that I see regularly as a result of Flashband, whether by being friends or playing music, or working. Flashband introduced me to 7drumlessons, where I teach drums regularly. And I currently live with a great person I met on that first Flashband show way back in February of 2014. There isn't enough to say about the value for me.

The actual experience of Flashband—playing under the short circumstances and melding ideas within themes—that's always exciting to me. It's a great creative outlet. You have just a couple of rules to follow that make the experience freeing as well as poignant. It's very satisfying.

Aztec Sun

To other musicians who are new to Flashband, I would say: Do it, have fun. Don't worry one way or the other about talent or experience. Everybody is in it together to win. And by "win," I mean playing music, having fun, creating, expanding your limits, and countless other things. Whether you're new to performing, or haven't done it in a while, or if you do it regularly and want to give Flashband a whirl... It's a no-brainer, really.

I like that the people in DC really like to listen to music. They come out and support any day of the week. I went to a house show on a weekday, and it was very packed. The music started promptly, and as soon as the music finished, people disbursed—of course, not before they bought CDs and t-shirts. They weren't there for anything else. I think that is something.

Music is important in my life because it really gets under the skin of everything good and bad in life, ultimately making everything better. I think they call it the happy drug... at least, those kids nowadays do.

Music is timeless. I like that, especially when we're all so concerned with how much time we have.

Want to be featured in an upcoming Flashband Meet the Musician? Contact Deborah Lash for more info.

Meet the Musician: banjo player Mike Gerst

This post features banjo player and Flashband veteran Mike Gerst. Mike has participated in the '60s Showcase (Breakfast Lunch & Dinner), Flash Banned (ContraBand), Animals (Horse Dog & Wolf), Trios (The Tennessee Three) and From the Public Domain. 

Although I’ve always enjoyed listening music, I didn’t seriously start learning how to play it until my late twenties. At the time I was out of graduate school and working, and I needed something creative to do with my free time. For reasons I still don’t understand, that translated into buying a banjo. After a few years of practicing I reached a coveted first milestone: I could play without neighbors complaining. The next goal was to find people to play with. Because if music is played and no one hears it, does it make a sound—sort of?

It didn’t take long to realize that it’s not easy to find people to play with when you’re an adult and a relatively inexperienced musician. Most other musicians at the same skill level can’t vote yet and most other adults are doing sensible things with their free time, like redecorating the guest bathroom.

Luckily, a friend of mine mentioned this crazy-sounding event where you jam with a bunch of people and you maybe get picked to be in a temporary band whose task is then to create and perform a 4-song set in a month. Ok, maybe unluckily, because at the time the concept sounded terrifying: a combination of not getting picked for dodgeball, plus that dream where you forget to wear pants to school.

Despite an interesting ride over to the jam location on U Street (people tend to ask a lot of odd questions when you have an instrument on the Metro), I still wasn’t entirely sure what I’d gotten myself into. Thankfully, my trepidation fizzled after meeting the other 40 musicians. If you think the prospect of voluntarily performing a set of music with total strangers in a month’s time might attract a special brand of person, then a Flashband event won’t let you down. And, by special, I mean inclusive, creative, generous, and really fun. I ended up grouping with a fiddle, upright bass, and washboard, doing covers of '60s soul and R&B.

In the month between the jam and the show, we rehearsed five or six times, creating a set with three covers and an original song. It was challenging but also a lot of fun. The day of the show, which was at Gypsy Sally’s in Georgetown, we rehearsed beforehand by busking in a park by the river. In about a half an hour of playing we made $40 and attracted quite a large crowd, including an entire Japanese tour group and a pack of kayakers who paddled over to listen in. While it's hard to top that experience, the show itself was amazing, with an energetic crowd and many good bands.

Since then I’ve performed in three other Flashbands, performing at the DC Main Library, Heaven & Hell, Iota, and Columbia Station. The musicians have ranged from people much like myself to pros from the local DC music scene (check out Elena & Los Fulanos and Brian Farrow). In about six months’ time, I went from barely being able to perform in front of people to being able lead a band through a set in a packed venue, making some good friends along the way.

The community of musicians that Flashband has fostered is a rare thing in a time when, to paraphrase, we expect more of technology than of each other. My hope is that through this expanding community many others will have a chance to relate to music as I do now: time to disconnect from busyness and reconnect with others through shared experience of expressiveness and creativity.

Just don’t forget to wear pants.

Want to be featured in an upcoming Flashband Meet the Musician? Contact Deborah Lash for more info.

The Introvert's Guide to Jamming

By Deborah Lash, Flashband's Community Outreach Coordinator

Going into a jam for the first time can be intimidating. You’re entering a room full of strangers, probably carrying some of your most precious possessions. You aren’t ready! You feel like everyone’s looking at you!

Take a deep breath, relax, and check out our guide to jamming for introverts.

Warm up
Get some of your nervous energy out before you go. Sing Stevie Wonder at the top of your lungs in the shower. Play air guitar along with Maggot Brain for the whole 10 minutes. Bang out a beat on kitchen pots and pans. You’ll feel (slightly) more on top of the world.

Come prepared 
Bring a couple ideas along. Heck, bring a whole book of ideas. You never know what will click with your jam mates, so have a variety of easy songs or simple chord progressions that you’re ready to play. If you’re a vocalist, bring along some poems or song lyrics that you’re comfortable with. At Flashband jams, we have binders available with suggested songs for you to use!

Listen 
One of your strengths as an introvert is probably being a good listener. This is an important skill for a jam. Pay attention to what’s happening around you, and you’ll be able to contribute your best.

Remember you’re not alone 
Everyone is a little nervous, even if they don’t show it. Every musician there wants to do a good job and show their stuff. If you’re overwhelmed by meeting a lot of people at once, focus in on the few people in your jam room. Get their names and use them. Reach out and say hello if you notice that someone else is on pins and needles. You’re all in this together to have fun, rock out, and meet new people. Maybe some of them will be introverts, too!

Keep your sense of humor 
Humor is the enemy of fear. Whether you go off on the wrong key or you fall over the drum stool, laugh it off. (It IS kind of hilarious.) Remember, you’re not playing a stadium, so be flexible with yourself and others. Try mentally assigning each musician a Muppet personality; this might help:

Jamming CAN be for the faint of heart. Don’t worry. Just prep yourself, have some laughs, and you’ll shine like a diamond.

What are your tips for jamming with confidence?

Meet the Musician: guitarist, bassist and back-up vocalist Pablo Anton-Diaz

This post features guitarist, sometimes-bassist and rock music devotee Pablo Anton-Diaz. 

I’ve been playing in rock bands since I was 12, and I’m also a closet metalhead (“closet” because I’ve never really agreed with the aesthetics of the genre or even played in a metal band, but I adore that style of music in secret over any other). I’m a musician that never had the guts to go pro, so I also work as an economist during working hours, and I love it. I play guitar, guitar and more guitar. However, I can also do tolerable backing vocals (when I rehearse) and defend myself at bass, which will be useful for me as I continue to participate in Flashband, where it’s important to be versatile and flexible.

I’m from Mexico and I’ve been living in D.C. for the past couple of years. Back home, I played with several different bands, ranging from power pop to hard rock, and with my last one I was signed to one of the main indie labels in the country for a while. We released one album nationwide and had a few cool and semi-important gigs, but not much happened with the band after that. Soon after, I got the opportunity to pursue a Master’s degree in the U.S. and the band broke up as soon as I accepted it.

A video from my last concert in Mexico, with my former band Evo,
before I came to the US in 2012

Currently, I am still playing with the band I formed through Flashband. Since last April we’ve been working on building a solid setlist based on cool covers, but also including some new original material we’ve been writing so that we can start booking some local shows ASAP. It’s a pretty straightforward rock band, but a little more diverse than most because of our own individual backgrounds. You’ll start hearing more from us pretty soon!

My first Flashband experience was amazing. I played on the Trio Stage at the Flashband Anniversary Party last April, and it’s one of the best experiences I’ve had so far in D.C. Everything went down smoothly. The jam session was a little awkward at first because I didn’t know anybody, but at the end it didn’t take long for me to find my bandmates, and choosing the songs was also easy because we had pretty similar tastes in music. 

We had a great time rehearsing for the gig and I can even say we bonded, since everybody had the right amount of commitment. Besides a few minor technical issues we experienced on stage, the show was amazing too. The place was packed and the response of the crowd could not have been better. The other bands killed it and the overall vibe of the event was very positive. It was just an ideal scenario. I hope all future Flashband gigs will be just as fun.

Flashband gave me the opportunity to revive my interest in playing music. When I arrived here, I focused all my energy onto my new job and stopped playing for more than a year. I didn’t think I would ever be able to play live in D.C., let alone get another band started. But Flashband changed that, and now I’m also starting to get involved with other side projects. 

Also, I don’t want to come across as cheesy, but Flashband has really given me a newfound sense of belonging. Before joining, I had no idea that such a vibrant community of local musicians existed in this city: musicians from all types of different backgrounds, ages, proficiency levels and even cultures. All diverse in genres and level of commitment, but united by a single common trait: their love of music and the desire to play and have a great time. Being a part of Flashband has helped me fall in love with D.C. Things like Flashband are what make this city so unique.

To other musicians who are new to Flashband, I say be as open as you can at the beginning, because Flashband will be able to fulfill whatever musical needs you have, if you do not narrow your choices. If you want a low commitment experience, don’t want to be in a band, but if you just want to get on stage every now and then to see what it feels like, this will be the easiest way you can achieve that. On the other hand, if you want to meet more musicians in the city and form a more serious band, this is also the place to do that. You decide. The more people you network with at the jam sessions, the more options you’ll have to choose from.

Bringing down the house at one of the best rock venues in Mexico City (Bulldog Cafe)
with some Rage Against the Machine, back in 2008

Music is an integral part of my identity and who I am. I would have a very hard time defining myself without it. Besides, even though I have never done it professionally, most of my life has always revolved around it. Almost all of my best friends have been people I’ve played with in different projects over the years, and I’ve never really had any other extra-curricular activities or hobbies besides playing in rock bands. I’ve pretty much always spent most of my free time playing music, writing music, or just generally thinking about music. (Here's my personal Soundcloud channel, where I’ve compiled some of the songs I’ve written and recorded over the years with different bands.) 

The best part for me of playing music in DC is definitely the venues. There are several live bars that are extremely cool, yet small, and always full of people willing to listen and appreciate new bands and their new proposals. The amount of opportunities to draw a crowd for new up-and-coming bands might not be unlimited, but there’s certainly more tools available for them and a wider variety of fora than what I was used to back in Mexico, where the rock scene is dominated by just a few media outlets and the handful of well-known artists they support, even in the independent sphere. So for me that was unexpected, but certainly appreciated. 

Want to be featured in an upcoming Flashband Meet the Musician? Contact Deborah Lash for more info.

Meet the Musician: bassist and guitarist Fahd

This post features bassist, guitarist and seven-time Flashband performer, Fahd. 

Having grown up in Pakistan, I was exposed and inspired by the usual international rock and grunge scenes, as well as local bands such as Junoon and Karavan. (Do check them out; you'll know why I gravitated towards playing the bass.)

As I learned to play music, I found myself becoming a part of the alive and thriving underground music scene, often spending hours jamming with fellow musicians. Learning songs was secondary and only happened as we prepared for shows; it was substantially easier for us, as we had already spent so much time playing with each other. The overall experience was great for me. I loved making music in all its forms and performing on stage had its own thrills.

Fast forward a few years and I found myself in DC, itching to play music and eager to find like-minded musicians. When my friend Ammar told me about Flashband and invited me to check out his performance at the Freedom of Speech showcase, I was intrigued. After attending the showcase, I was sold on it! My first show was the Halloween Dance Party showcase and it was a wonderful experience, from the Meet and Greet to band practice to the actual performance.

The promise of performing to a packed audience in a few weeks ensured that everyone was committed and enthusiastic about playing, while the Flashband team ensured that musicians didn't need to worry about looking for venues, lugging along extensive equipment, or doing marketing and finding an audience for the band, thereby removing many of the barriers to entry.

Since each showcase is a mix of old and new Flashbanders, each experience is completely new. I have played genres and songs that I never imagined I would and loved doing so. I have also learned so much from my fellow Flashbanders, as each one brings with them a different approach.

As exciting as it is, I must warn new members that Flashband is very addictive! Within the past 9 months, I have played in seven shows, including the Funk Parade and Baltimore Artscape festival, and am currently preparing to play That 70’s Showcase.

Some shows have been quite memorable for me, like when we did a twelve-song mash up for the Animals showcase, re-imagined songs for the Remix show, and had the crowd go wild when we did a RHCP set with three vocalists for the Funk Parade. Flashband keeps me on my toes with the challenge of preparing a completely new set list in a different style, learning new songs, adapting to the playing style of different musicians, and writing new material. It ensures that I keep growing as a musician and that I do not get rusty.

My advice to new Flashbanders would be to come to the Meet and Greet with an open mind, and form a band with people that you enjoyed playing with, because, when you are having fun on stage, it shows. At the end of the day, everyone is there to enjoy themselves, so do try to accommodate everyone and make the experience pleasant for fellow Flashbanders.

I feel very grateful to be a part of the music community in DC. What is unique about it is that it is small enough that one eventually gets to know everyone, but also big enough to accommodate musicians with diverse styles.

To me, music is universal, irrespective of where one is from or what language one speaks. Music is one common ground you can find with everyone and Flashband is great at getting everyone together to speak that language.

Want to be featured in an upcoming Flashband Meet the Musician? Contact Deborah Lash for more info. 

5 Tips for Marketing Your Band On The Cheap

By Deborah Lash, Community Outreach Coordinator at Flashband and singer for The Revelations

For your musical glory to shine, it needs audio-visual support and a super-great website. You only have five seconds to make an impression on a promoter or booking agent, but probably a limited number of dollars. Impress the heck out of your audience with these tips. 

1. Demos

These can be very simple. Today’s smartphones have great audio recording capabilities. Gather your band together in a good, sound-proofed rehearsal space and play through a song. Listen to the recording and check the levels before recording the rest of your set. Afterwards, neatly edit the best of your songs and upload to the awesome website you will have after reading this article. Boom. 

2. Band Photos

Pro tip: You usually need someone to properly adjust the white balance, add contrast, and bump up the clarity (meaning the definition or structure) in your photos. Great editing can make even a snapshot look super professional. If you have a photo already that you really like, ask a knowledgeable friend to touch it up for you. 

If you don’t yet have a photo that you love, ask a friend or make a small budget. List an ad online (try Craigslist’s Creative Gigs section), along with a clear budget for what you can afford. Another great resource is local photography students. Just send a local art school or university art department an email describing what you’re looking for, and ask them to forward it on to their students. Be nice, be clear, and pay as much as you can. 

3. Logo & Design

Grab a beer and hold a big brainstorming session with your bandmates. Talk about words that describe your band’s feel (“vintage” / “edgy” / “playful” / “dark”) Take a look at your lyrical themes. Read music reviews of similar bands for inspiration. Write it all up. Make some sketches of what imagery comes to your heads for the design. Send it all along to a fabulous designer. (Tips from the photography section also apply to finding a designer.) 

Be clear in your minds about what kind of package you really need: logo, band lettering, web banner, website background, etc. You can save money by asking for just a logo, a font, and maybe a color. 

4. Video

Don’t be too proud to get great video! Play any gig you can get, no matter how small. Ask friends to take videos on multiple smartphones. Bring as many friends along as you can for the cheers. Edit out small sections of your greatest moments to look your best. And, of course, participate in Flashband shows so we can take great video of your performances, too!

5. Website

After gathering all this fantastic stuff together, imagine your band’s website. It’s shiny, welcoming, and reflects your musical personality. It can be yours! There are tons of cool hosting services out there that offer quick, easy designs with custom domain names (Bandzoogle, Bandvista, Hostbaby). They average around $12-15/month, which is a pretty good deal for fulfilling your website dreams. Here is a solid article offering a bigger rundown of your options. Spend some of your precious time on this, and you’ll be proud of how your music shines for the whole world wide web to see. 

It’s a good time to be a musician! There are so many easy, cheap tools for creatively presenting your work. These tips will take time to put together, but your wallet and your fans will be so happy. 

(And don't forget: The easiest way to get started on marketing your music online is to make sure your Flashband profile is updated!)

What are your tips for marketing on the cheap?

Meet the Musician: Ardamus, member of The Lucky So & So's

This post profiles Ardamus, solo artist, member of The Lucky So & So’s, and part of Delegation Music, FAR EXP, DropLockers, Art Hotta, and S4YM.

At a young age, music kept me out of trouble and gave me the power to voice certain things that I couldn’t always do all the time. And, because of that, I can say that music gave me a better direction in life after all these years.

The Lucky So And So’s – “Costa E Sol” (unrehearsedDC version)

I rap, work on beats/production, and attempt to sing. And I can play a little piano.

I've been a part of 4 or 5 Flashband events. My first Flashband experience was an eye opener. I was in the Hip Hop Emcee Competition and came in second place. It was good to freestyle again on stage like that and show my range.

Ardamus & C Royal – “Indeed Loyalty”

The value I have gotten is working with musicians in Flashband who appreciate what I do and also being able to work with them on different level than I have before. It’s almost as if I am re-learning music theory, but in a much more fun way.

To other musicians who are new to Flashband, I'd say: After you perform with your band, do this: (1) think about if you want to go further with that band and communicate that and (2) keep up with more of the Flashband events, because there are always new ideas floating around for different collaborations.

FAR EXP – “Get On Your Grind”

The best part of playing music in DC is being able to engage the crowd and have them respond, especially at the bigger shows, where it's nothing but positive energy between you and the people you are performing for.

Find Ardamus on Bandcamp, Facebook and Twitter. 

Want to meet more DC musicians? Sign up for Flashband right now and let's do this.

Meet the Musician: Aaron Miller of The Perfectionists

This post profiles Aaron Miller, a Flashband member and the bassist in two bands: the cover band The Perfectionists and the indie rock band Naylor Court.

Without music, life would not be fair. There are a lot of people who like playing music as a serious hobby. They have day jobs, but take a lot of pride in their craft. That fits who I am and my current relationship with playing music.

I'm self-taught on bass, guitar and ukulele and classically trained on the piano. I have a melodica that’s a ton of fun to play. I recommend any keyboardist picking one up; it’s like $40 and a sure-fire way to annoy a significant other.

The Perfectionists have been together since September ’14 in our current iteration. We are actively gigging at area bars/venues and practicing at 7DL. We play a wide range of covers, spanning from the '60s to present. We play fun stuff, like Wagon Wheel and Uptown Funk (sick bass part on this song, by the way).

We also like to challenge ourselves and play stuff a little off the beaten path, like Jack White’s That Black Bat Licorice and Michael Bublé’s version of Feeling Good. Our repertoire has multiple suggestions from everyone in the band, so I’ve enjoyed figuring out bass parts for such a wide range of music. 

Naylor Court formed in ’08 and was active for about 6 years. We played a mix of originals written by our lead singer and our violinist, and popular covers. We had a great time throughout, and I gained a lot of good experience. We stopped actively playing and practicing last year after our keyboardist left for business school, but the remaining four members will play a gig every now and again if our schedules match up.

My first Flashband experience was in the Number Ones Showcase. It was great! The Meet & Greet was like speed-dating for musicians. It was fun to play with so many different people in such a short period of time.

When it became time to choose a band, I wandered around asking people if they needed a bassist. I’m fortunate that it’s an instrument every band needs, but isn’t as popular as, say, the guitar. It was easy to find a group.

The practices were productive and we usually went for a beer afterwards. It was great getting to know new musicians and people in the community. We played well at the showcase and we all remain in touch. I’m looking forward to doing another cycle soon!

Bands don’t last forever (unless you’re the Rolling Stones) and a band is something I always want to be in. I know that the Flashband community is a great resource for finding a musical outlet. I hope they expand nationally so there’s a ready-made community if I ever move out of the DC area.

If someone new to Flashband asked me for advice, I would say: Roll with it. Especially when selecting songs. Even if you don’t care for the song suggested, there’s something to get out of learning it and making it work.

Practice at home. Come prepared for band practice. It makes for a productive rehearsal and a better sounding end product at the Showcase.

A Musicians Intro to Live Sound, Pt. 4: Outputs

At last! The final step in the live sound process: speakers.

Before I started performing on stage, I used to wonder why it was so loud at concerts and music venues. Once you have your first time on stage, though, especially if it’s in a club with a bad monitor mix, you realize that there’s a lot of noise that needs to be covered up to create a clear sound –both from people talking and from sound bouncing around the room.

Mains vs. Monitors

The biggest distinction between speakers is whether they are for the audience or for you, the performer. "Mains" are for the audience to hear you. "Monitors" are for you to hear yourself and your bandmates.

Bare bones setups use the same mix (i.e., a combination of different instruments) for monitors and mains, but most setups have at least a separate monitors vs. main mix. Professional systems have a different mix for each individual monitor. You need monitors because it gets noisy on stage, and this makes sure you have a dedicated way to hear your bandmates. Remember that what you hear on stage is usually not what the audience hears.

A main function of the soundcheck is to get the relative levels of these two sets of speakers right. For the key pointers on what musicians need to know about how to do a sound check, you can also read our blog post about sound checks.

Powered speakers versus separate amps

If you are running your own live sound setup, you’ll need to also know about powered vs. unpowered speakers. (If you have a sound engineer, you won’t need to worry about it.)

Remember back in the first post when we talked about signal levels? The basic concept is that the mixing board first gets everything up to line level, but then to hear the music you’ll need to convert from line level to speaker level. The difference between powered and unpowered speakers is where that conversion happens – in the speaker, or outside of it.

Powered speakers have a built-in amplifier, and they need a line level signal. You’ll know it’s powered if it has a power cable attached. Don’t send speaker levels to these or you’ll blow them out. These are better for situations where you move the speakers around a lot.

Speakers without an amplifier need speaker level signal. You’ll know it is unpowered if it only has a speaker cable input. You’ll need a separate amplifier, designed to work with that speaker and sometimes built directly into the sound board to produce sound. If you give these speakers a line level signal, you’ll hear barely anything, but at least you won’t break them. These systems can be a little bit cheaper, so are often used in permanent installations.

And that’s it! As we said in the first post, this is a big complicated topic – far beyond the scope of a couple of blog posts – but we tried to hit the high points. 

Have things you think we missed? Let us know and we’ll make it the topic of a future post.

Read our previous Live Sound posts: 

1. Intro to Live Sound
2. Inputs
3. Transmission

A Musician's Intro to Live Sound, Pt. 3: Transmission

This is part 3 of a 4-post series. For the rest of the story, read the first and second posts in the series.

When I first started setting up sound for my band, I thought cables were cables. I even bought a bunch of converters so that I could connect an XLR cable to a ¼” jack, and vice versa. Fortunately, I didn’t ruin any equipment, but my fundamental lack of understanding did make for some pretty long sound checks just guessing at what needed to be connected to what.

The purpose of the most of the equipment on stage – cables, DI boxes, mixing boards – is to bring different signals into one place, convert them to the same type of signal, and send one unified signal to the speakers. All the components of the live sound equipment are designed with a specific signal type in mind, and the biggest cause of frustration is when you don’t understand what types of signals each equipment is using.

Cables

Electrical signals are transmitted in cables. Although a cable looks like one wire, there are typically two, three or more separate wires, separated by insulation, inside the cable.

Let’s start with a few ways to classify cables:

Cable types (the inside)

Shielded versus unshielded

Cables act like an antenna and pick up noise (hum) from radio waves, fluorescent lights, cell phones, other cables, etc. For long distances at speaker level, it's no big deal: the noise is too tiny. For short distances at line and even instrument level, it's also ok. At mic level, or instrument level over long distances, this causes problems.

Shielding is the first way to protect your signal. Instead of having two wires inside the cable, one wire is instead a braided shield that creates a tube. The second wire passes in the center of the braided shield.

Mono verse stereo

Mono cables carry one signal, using two wires (to create a loop). Stereo cables carry two signals, using three wires (to create two loops).

Balanced vs. unbalanced signals

When you have mic level inputs, or when you have line level inputs over a long distance, shielding isn’t enough. You need balancing. (For a reminder how that works, check out the first post in the series.)

Technically, it’s the signal that is balanced, not the cable. Balanced signals need two loops, so the inside of the cable is the same as a stereo cable, with three wires inside. You’ll still hear the cables described as "balanced cables," though. 

Connector types (the outside) 

• An XLR cable has a round plug with 3 prongs or holes and is balanced. Usually used for microphones.
• A ¼” instrument cable (TS cable) has a prong on both ends, one small black stripe in the prong, and is unbalanced. Usually used for instrument level inputs. Keep these as short as is feasible.
• A ¼” speaker cable looks like an instrument cable but is constructed differently. It carries speaker level inputs. Using speaker cable for your instrument creates noise; using instrument cable for your speakers can damage your amp or speakers and can create a fire hazard. (You’re probably fine at low volume, but use caution.)
• A ¼” balanced or stereo cable (TRS cable) has two black bands in the tip. It can be used for balanced mono, or for unbalanced stereo sound. This can be used in some pro setups, but typically you won’t need to worry about it. 
• A 1/8” cable is usually TRS (two black bands) and typically carries stereo signal to/from an audio player or headphones at line level.
• An RCA cable has a prong and sheath plug, and is unbalanced. Usually used for line inputs. 

What you need to know

Ok, lots of cable types – so what? There are a few key places that cause the most problems.

Shielding and balance

Most of the time, the choice of cable is determined by what type of signal the equipment produces, and for the most part you can get away with just using the cable that fits. Mic level signals always need balance and shielding, so they use an XLR plug. Instrument and line level signals don’t need balancing when they are traveling a short distance, but the signal is still small, so you’ll need a shielded cable. If you need to take a line or instrument signal a long distance, you’ll need to balance it first. Speakers don’t need shielded cables typically, but you do want larger gauge wire. Sometimes, though, you can’t just plug it in where it fits...

¼” cables

If only they’d put different connectors on the different types of ¼” cables! The "guts" of a ¼” cable can be either stereo or mono, and shielded or unshielded. 

First off, pay attention to the number of black bands on the connector. Two bands is TRS, which is stereo – good for headphones, bad for your guitar. 1 band is mono, which is just what your guitar needs. 

The second challenge is shielded, which is harder to tell apart. Normally the only indication is some tiny, illegible text on the cable itself that says "instrument" or "speaker." My recommendation is to mark your cables clearly when you buy them.

If you plug your guitar into your amp and the sound is super noisy and muddy, you might be using a speaker cable by mistake. Also, ever wonder why you can’t find guitar cables longer than 25 feet? Beyond that and the shielding can’t block the noise, so if you need to take signal farther you’ll need to convert to a balanced signal (using a DI box). 

Also, for instruments, the shorter cable the better for preventing noise, so use a short guitar cable if you can get away with it.

Converting signals

So you picked the right cable to deliver the right type of signal based on what your instrument or other equipment produces. Where does the other end of it go?

Remember, at the end of the whole system we want one, unified signal to send to the speakers. Right now, all the equipment has signals at different levels. At some point, we need to convert those signals and combine them together. That’s the main job of the rest of the equipment.

• A preamp boosts the signal from mic or instrument level up to line level.
  If your instrument’s output level is low, you might need a pre-amp to get it up to line level. 

• An amplifier converts from instrument or line level up to speaker level; instrument amps have a speaker built in, while the amp for the sound system might connect to separate speakers.
  If you are using an amp (say, for an electric guitar), you can either use the amp sound directly if it’s loud enough, put a microphone on the amp, or some amps also include a line level output.
• A DI box converts from an instrument or line level down to mic level, and sends out a balanced signal. This is a good article explaining DI boxes.
  You use a DI box when you need to send an instrument level signal over a long distance, such as when you connect an acoustic guitar pickup or keyboard line out to the mixing board. A DI box also blocks the phantom power sent from the board, so beware if you need that phantom power! 

• A mixing board takes multiple inputs of various types, mixes both their levels and their frequencies (i.e., an equalizer), combines these signals, and sends the combined signal out to different speakers. It can send phantom power out to devices that need them. Sometimes it includes an amplifier for the speakers built in (meaning it sends speaker level outputs directly to the speaker). Or, sometimes the amp must be separate (it sends line level outputs). Sometimes different channels ("main" output versus "monitor" output) have different output types; for instance, the monitor might have line level output and the main might have speaker level output. A digital mixing board typically operates the same as an analog one, but it can save setting combinations and can often also output each track separately to a computer interface. 

• Gain and volume knobs can be found on instruments, amplifiers and mixing boards. Think of volume as the squeeze handle on the end of the hose, and gain as the faucet knob where the hose comes out of the house. Both need to be adjusted correctly.

What you need to know

Most of the transmission equipment is completely in the domain of the sound engineer, meaning you, as a musician, hopefully don’t need to deal with the intricacies of it. But, musicians usually have two things they do need to pay attention to. First, you’ll need to talk intelligently to your sound engineer about where the signal from your instrument is going. Second, you’ll need to help diagnose problems when they occur.

Tell the engineer what he needs to know

Take a look back at the previous article and figure out what level of signal your equipment produces (mic, instrument, line). Then, figure out how you’ll need to get to the sound board. The most common answers are:

• Your instrument has a pickup and you have your own amp – tell the engineer if you have a line out they should use, or if the amp should be mic’d. 
• Your instrument has a pickup and you don’t have an amp (acoustic guitar, violin, etc.). Normally, you’ll need to go into a DI box that then goes to the sound board. If the instrument level on your pickup doesn’t provide enough volume, you may want to add a preamp to boost your signal – they’re not expensive. 
• If you have a keyboard, pay attention to what output type you have (XLR vs. ¼” and stereo vs. mono). Usually you’ll go into a DI box, but you also might go through an amp. 

Help fix problems

On stage, a musician can help with three of the most common problems you encounter in live sound.

Feedback occurs when a microphone hears itself in one of the speakers. Often this happens when someone on stage moves the microphone somewhere bad. You can read more about fighting feedback in this past blog post, but when you’re on stage and you hear feedback, you can:

• Cover the microphone closest to you with your hand (block some sound)
• Look at where it’s pointing. Is it pointing at a speaker? Did you move past the line of where the speakers are in front of the stage? Adjust. 

No sound happens when there is a break anywhere in the chain from the input to the speaker. Sometimes it’s on purpose (sound engineers often mute channels when they’re not needed). If the channel is needed, you can help diagnose the problem by:

• Making noise continuously, for instance, by talking into the mic. You won’t know when you fix it if it isn’t making sound. 
• Start at the source and check every connection, volume knob and power switch. Pay attention to ones located on your instrument in particular. 

Noise is usually due to bad connections, the wrong cables or grounding issues. Wiggle all the connections to make sure they’re sure, and only use instrument cables for instruments!

Transmission is the biggest section of a live sound setup, so it’s naturally the most complicated. Next up, we’ll briefly cover outputs, the final step in the process.