Guitar Nine Columns

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Enjoy over 20 years of staff columns, guest columns, interviews and more!

December-January 1997

High Energy Band Does It Themselves

December-January 1997

Vibrant and Powerful Acoustic Music

December-January 1997

Cutting Edge Guitarist Delivers the Instrumental Goods

December-January 1997

Creative, Unusual Power Trio Oozes Intensity

December-January 1997

Electrifying, Emotional Blues-Rock Instrumental Music

December-January 1997

If you're a typical musician, you lack one or both of these critical qualities. Let's see how important they are to your success.

December-January 1997

If you`ve got the urge to explore jazz after a background in rock, you`ll need to understand the differences between the two styles. Guitarist Sean Gill gives you the keys to unlock the door to jazz.

December-January 1997

Houston guitarist Rusty Cooley figures that with ten fingers, there`s got to be times when you can use over half of them to express your ideas.

December-January 1997

I`d really like to develop into a good composer. I`m not a Greg Howe or an Allan Holdsworth when it comes to soloing, so I have no choice but to work on developing my compositional skills so that people will have a reason to listen! To me, the ideal is someone like Scott Henderson, or Shawn Lane, who are not only amazing players, but equally strong, if not better, composers. That`s the pinnacle, to me.

October-November 1997

New Jersey guitarist Paul Kuntz is back and aside from a ravenous appetite, he`s got plans to teach you all about tuplets and fitting the notes to the rhythm.

October-November 1997

Just can`t get enough info about modes, can you? Guitarist Tony Young relates modes to chord progressions.

October-November 1997

I do as much pre-production as humanly possible at home. When you`re ready to record, and I can`t stress this enough, have everything rehearsed to death and a production plan ready. I did my latest CD at a commercial place, but my dream is to do my next one at home.

October-November 1997

The bottom line is: I believe in my music. As an instrumental artist you`re not going to land a huge deal with a major label. If you do get a deal the label is going to take a huge chunk of money, and even if they do sign you, they may not even distribute your CD. Some friends of mine signed with a major label, and the label has not done a thing with them. So they have a great product that they can`t do anything with.

October-November 1997

Adrenaline-Pumping, Cinematic Heavy Rock

October-November 1997

Stepping Outside Contemporary Fusion

October-November 1997

Folk And Rock 'N' Roll With A Country Flavor

October-November 1997

Mixing Luxurious Soundscapes With Rock/Blues Guitar

October-November 1997

Instrumental Metal That Screams For Vengeance

October-November 1997

Surprising Interpretations Of Contemporary Classical Guitar

October-November 1997

Supercharged, Energetic Bass Guitar For The New Millennium

October-November 1997

Intense, Ripping Instrumental Guitar

October-November 1997

Self-assessement time. Can you go it alone? You might need the synergy of two people working together to kick start your label.

August-September 1997

13 additional tips you can use today to improve your tracks.

August-September 1997

Swedish Instrumentalist Does It On His Own

August-September 1997

Inspiring Others to Find the Inspiration in Themselves

August-September 1997

Balancing Technique And Melody... From Italy

August-September 1997

Driving Rock Music With A Message

August-September 1997

Powerful, Progressive Instrumental Metal Music

August-September 1997

Skill and Musicality Mark Instrumental Release

August-September 1997

Completely subjective, straightforward tips in the areas of promotion, publicity and your career.

August-September 1997

New Jersey guitarist Paul Kuntz takes time out from lunch to give you his assurance that there is life beyond the blues scale.

August-September 1997

Even though these days it takes a lot of idealism to produce an instrumental record, I strongly encourage everybody who`s playing around with the idea to do so. Just don`t expect to get any money out of it, regardless of the quality of your product. It might happen, but it`s very likely that it won`t. But you will have the best musical business card there is and a unique document of your own creativity.

August-September 1997

The one thing I always try to do is be in a creative state of mind when I compose. It seems that the ideas flow better if you are working on it on an ongoing basis. For a lot of my instrumental tunes, I sometimes get a mental picture of something in my head, and then ask myself what music goes with this scene. This is much like scoring for film--except the film is in my head!

June-July 1997

I record at home in my 16 track (analog) studio. It took me lots of time, energy and money but I`m glad that I`ve got one. Nothing can beat a home studio. You can go there anytime you want and not be bothered by anyone other than yourself. You don`t have to book time, and pay by the hour. Unless you`re a lunatic, that is.

June-July 1997

You have to have a good promotion budget and don`t skimp corners when it comes to this. You can have the greatest album and if no one knows that you have one out and available, it really is no good. Utilize all that you can with local publications and national ones as well. Always think of the nation as your market and not just your town. You can be the biggest thing in your hometown and unless they know you around, it really is not going to help you.

June-July 1997

Dan McAvinchey helps you to eliminate those pesty sonic gremlins from your home or project studio.

June-July 1997

Hungry For the Big Time

June-July 1997

Crunchy Riffs, Infectious Guitar-Laden Grooves

June-July 1997

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June-July 1997

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June-July 1997

Are you a half-finisher? Always eighty percent complete? How you can finish what ya started.

April-May 1997

Reader tips for twangin' up your sound.

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