I'd like to get a bunch of Blues jamming guitar tracks CDs. Price is of no concern. Also looking for SRV jamming backup tracks.
I've been to JamTrax' website, but I have to be honest ; even though they claim that their CDs are recorded with real musicians in a studio, it sounds very fake to me and I doubt there's any truth to it. Johnny64's backup tracks in the JamZone sound *way* better!
Any suggestions?
Download a decent quality midi file. Edit the lead/vocal bits out in an editor (freeware or Cakewalk if you have it) and then convert it to WAV with WinAmp.
Voila - perfect jam tracks everytime (assuming you have a decent sound card anyway).
This is what I do.
Nothing's forgotten...nothing is ever forgotten
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Fender Stratocaster Gilmour Tribute 1 - Black/Maple, DiMarzio Vintage Solo, Area 61 & Area 58 pickups
Fender Stratocaster Gilmour tribute 2 - Candy Apple Red / Maple, EMG DG20 pickups
Fender Classic Player 50's Stratocaster in 2 tone sunburst / maple
Boss GT-100 COSM Amp Effects Processor & FS6 Dual Footswitch
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MIDI, unfortunately, in general, sounds pretty fake. Of course, there are always exceptions, but in *most* cases, it sounds fake. I'm looking for the best possible real-instrument jamming track CDs I can find.
I honestly don't know if what I'm asking for actually exists or not, but I figured I'd give it a shot.
I will give a band a real shot later on (2 months, roughly, long story), but for the moment, I just need something that sounds real enough.
A long time ago, MotoJunkie suggested GuitarPort and I visited the website, but even though they supposedly give you a chance to sample a few different tracks, whichever track I choose, whether it's the full mix or the No Guitars version, there's zero difference between the two, so I don't know if it's their website that's not programmed correctly or if they really *don't* have a No Guitars track. I've heard one No Guitars track and it sounded good. Just wondering.
Also, the samples have been downsampled so they sound like they're in mono, etc... So I don't know if that's because they're samples and not the real songs or if that's the exact same sound quality I'd get if I subscribe.
I agree, you need a real band or to get yourself down to some of the friendlier local open mic's or jams. Try as I might I haven't found any really good jam along CD's, even the one I tried that did feature real musicians (I know one of them, and he seems fairly real) conspired against learning by being entirely flat in performance and dynamics (not his fault, he was told to play even). Flat performance and dynamics to me means low inspiration, the CD's will teach you to play in key and to chose an appropriate lick for the chord/speed, but those of us who have heard you in the Jamzone will know, you've got that bit down already.
What I think you need is interaction, at least if you want to go further, playing a lead in front of a band that will react if you build the intensity, or if you bring it down is an amazing feeling, and one of the greatest skills you will learn is to sensitively back up a vocalist or soloist doing the same thing,which also feels great. When these things happen, when the music flows is the ultimate emotional and inspirational experience, and is from what I hear of you, the next step. Jam Cd's will not give you this, because be design they are flat productions, there so you can wail all over them, fun at times, but ultimately unrewarding.
Thats why I would say go to every open mic you vcan make it to. Firstly these, especially those that cater to the less experienced, are friendly places and are a great place to learn your stage chops (i.e. how not to wank all over everyone else and to play for the song). Secondly they can serve as inspiration, the feeling of applause and acceptance and of playing with others is a huge inspirational shot in the arm. Finally, these are often a great place to meet fellow musicians, who can, in time, grow into the network from which you can form a band. Many bands fail, ask me, ask Tele-Bob, ask anyone here who has ever been part of a band, but being networked with other musicans means that the experience (and it is worthwhile) is vastly easier to achieve.
If you want jam tracks, raid the jamzone here and at the LPF, or buy a CD, but don't expect too much from the CD for the reasons outlined above. Playing in isolation is fine, but it's like training wheels on a bike, nobody (apart from the neighbours) has to hear it, so you don't have the embarrasment/nerves factor of playing live (no offence to anyone who chooses to play as a living room hero, as the mangler said he's looking towards a band). It's time for the training wheels to come off the bike, you are more than ready for the stage, go on do it, skip the CD put the money towards a night at an open mic.
You can thank me later!
Tonemoneky, are you a lawyer or something?
What a plea for the live musician!
I'd vote for ya! :)
StratMangler, go down to Archambault, downtown, and get yourself some books with CD o nthe artist of your choice.
I have one for Deep Purple and the backing tracks that are on the CD, while not being the actual originals, are fairly good enough.
Or there is a magazine out there, Guitar Techniques, from UK, that features some very well made backing tracks of the featured artists of the month.
Check out this site: http://www.guitarbt.com/index.php?
Lots of backing tracks in there, some good some not so good.
Or this site: http://www.hickoryshomepage.com/guitar.htm
Some good backing tracks there too.
There's someone in my head but it's not me.
Ian, you're making so much sense! I had completely forgotten about open mics! The fact is that when I move downtown, I will have the possibility of attending jams every chance I get, despite the fact that I don't own a car. I've been living for 17 years in a suburb far away from Montreal (at least 30 minutes from downtown). I had tried to attend a few jams, but they started at 10 PM, so by the time I got to play, which was very late (the earliest I ever played was around 1 AM), all the buses and subways were closed and I had no other way to get home but to call a taxi, that night I went when my father wasn't available (I went 4 times and afterwards, he never had time or energy to drive me around).
It ended up costing me 55$ to get home, that night, minus the tip.
From that point on, I unfortunately had to swear off the jams, since I had no money to dedicate to this and furthermore, I was a nervous wreck when playing in front of people.
The good news is that I never wanked and always added fills here and there and did my 8 bar solo, on key and fine, just nothing spectacular, then turned the volume down and just did straight rhythm work to support the player taking the next solo. The bad news was that everybody thought that *I* was the leader of the band that was onstage and they were waiting for me to call solos and end the song, which I didn't know, so the song went on forever! When I realized that, I obviously ended it with a turnaround, but the "damage" was done and it ended up sounding like a disorganized band where nobody was in charge, which it clearly was.
Being a noobie when it comes to the stage, I don't have the balls or the credentials to take command and do something productive, yet. I am *way* too shy to sing (about 20 times more so than playing guitar). I'm always on key, but I don't have a deep voice nor a powerful one (think John Mayall). Unfortunately, people expect me to sing and give me a hard time when I don't, as if I'm trying to be difficult. For me, it's a growing process. I can't be expected to run a marathon when I'm just trying to crawl from A to B without making an ass out of myself in front of everybody. I just want to learn to be fearless and take the music in and work with it by being a sidesman a la Clapton with Delaney & Bonnie, right now. Singing will come later. If possible, I'd do a Kenny Wayne Sheppard thing where I'm the lead guitarist, but have somebody else sing. I'm already uncomfortable playing in front of anybody right now. Singing just terrifies me even more, because I don't have the "tone" I'd like to have to begin with and I can't change throats to change the tone like I can with a guitar or amp or pedal.
Maybe I just attended the "wrong" jams, because the jams I attended so far had no lists for me to sign on and had preferential treatment with regulars who would jam first and longer, sometimes sitting in for the whole night. I'll give other places a try if that's what it takes. The jams I went to consisted of the house band playing for 45 min, then the regulars would jam each for at least 30-45 min each, sometimes more. The time I played at around 1AM was a fluke, actually.
In the meantime, obviously, I'll check out the TFF and LPF jams. Again, as I said earlier, some of the tracks sound absolutely fantastic, which makes me wonder how come companies like JamTrax can't make their stuff sound half as good. I just wanted something I could wank over to get back to my playing form of 2 years ago when I could play much better, more fluently and without feeling sore in the wrists after 15 minutes because I haven't practiced this entire time. Worst-case scenario, I'll make myself a compilation of TFF and LPF jams and run with it, but I was specifically looking for Hendrix/SRV jam CDs with guitarless tracks for me to add my own playing to.
Of course, I can always do that with a band, but that's 2 months away, at best. ;)
One small experience: Back in 7 th. grade or something, I found that I could act on stage, because I figured it really wasn't ME, but the image of me, that acted.
Does that makes any sense? I'll take my medicine now!
It does make sense. Some people have an onstage persona and a different one offstage. Just look at Angus Young, Marilyn Manson, etc...
:bug I see what you mean! I didn't use an entirely different persona onstage though, I saw it more like a subset. Still me, but not ALL of me. They didn't see all of ME, but the part I was doing: my "Long skinny kid with guitar that can't sing and who doesn't give a damn"-character. I knew it was part of me or "my act" of course, and could take feedback home for evaluation. After a while you stop caring what others think. That's when know you do all right.Originally Posted by Strat-Mangler
The problem is that I'm afraid of sucking. When I play, people want me to play SRV and Hendrix covers all the time. I don't mind, but the problem is that these covers, if they're not done in a half-assed fashion, require some level of exhorbitant playing and flashiness, but the more complicated or elaborate the playing is, the more nervous I am about pulling stuff like that live. I can play at a certain level live and am very pissed about not being able to pull 1/5th of what I can play at home.
So I get nervous and tend to not look at anybody in the audience.
Hey Strat!
In what area are you moving to?
I'll be moving also this summer and I'm looking to get closer to downtown too.
We may endup being neighbours, we never know.
I gotta start searching pretty soon though.
There's someone in my head but it's not me.
I hope somebody with more recent live experiences will chime in! Generally I was nervous for ˝ a song. Even Jimi was! He often opened with a song like.. waz it's name now... bluesy stuff.. that he knew inside out. I did that too (sort off :)) It should also be a crowdpleaser so you have bags of goodwill.
You can play! You just need to play some trick on your self to show it.
Hmm.. Jimi.. I'd do him in an entirely different way somehow. Heard a tribute record and the best Jimi impersonation was the female singer, where the solo sounded nothing like Jimi (IMHO).
St-Henri. Very close to the metro station, actually. It would quite a coincidence if we'd end up being neighbors. A *nice* coincidence. ;)
Check out the BAND IN THE POCKET series of backing tracks cds, put out by Five Feathers Music, (I found them at the local GC, and there's a net site.) There are two blues cds (I use the first one the most,) a heavy metal cd, a country/bluegrass cd and a cd for bass players. I turn it up loud enough so that a crankin' Princeton Reverb mixes right in. Pretty much fun when there's not a band around.
Keep your feet warm, your strings clean, and your powder dry.
Cool! I'll check it out when I get home. I was about to ask for samples, but I see they have a handful available on their website. I'll give it a listen!
Thanks again!
Lawyer? No, but I am a salesman....
Aren't we all? Sometimes we do, sometimes we don't, but it's the fear of suckage that makes it exciting in a way. Roller coasters aren't fun because of the scenery, or because they're fast, it's because they are scary. The fear releases adrenaline, which either makes for excitement or gibbering wreckness, and it's up to you to channel it in the right direction. As far as singing, well, we all suck at least to our own ears (apart from perhaps Annie) I don't know anyone who isn't a total wanker who likes the sound of their own voice (unless you do Annie) I hate mine, but I'll sing because sometimes at jam's you'll have to, the best advice I can offer is to know the key you sing best in, you'll be more confident, and it won't matter so much.
As far as not being able to play as well live, that my friend is a matter of opinion......I can do flasher things at home than I can live, because if I screw up I can try again, no harm no foul. Playing live means I play simpler (I try to get this down when I record) and the message is more direct, simpler and easier to understand. Which is better 'yadda yadda yadda well maybe, hmm perhaps, I shouldn't, I don't think I can, sorry' or 'no'. Which is more likely to work?
Personalities? We all have a variety, I'm sure you're different on the phone at work to how you are in person. Different with friends and family. We all put up fronts to deal with the situation at hand, and that's a good thing. Find the the side of you that makes it easy to get on stage, I'm pretty damn sure SRV, Jimi, EC and anyone else you can mention does this. Buy a hat if it helps.
Lastly, you need to expect to lead the band when you go up at a jam, it's not hard to learn to do this, sometimes you won't need to, but if I know people.....well, no-one wants to get singled out so everyone expects everyone else to do it. I've often found myself being the de facto leader at the jams I go to even when someone else is calling the tunes and the solos. Someone needs to take charge of the dynamics, the drive and the groove, most singers can't, many rhythmn sections need to be told what to do and heck plenty of guitarists just want to turn up and wail at full volume, you'll probably find yourself leading from the back, don't worry, it's fun to do.
tonemonkey, no matter what you say: I'll vote for ya too! :ahem
Your right... as usual.
I know that I have 2 ways of doing this, kind of like being at the pool ; I can either inch into it reeling in pain as the coldness of the water is too much for me to bear, or I can simply dive-bomb into the water, create a big splash and get into it right away and get it over with.
I'd obviously be more comfortable were this a TFF jam, for instance. But for whatever reason, playing in front of other musicians I don't know from a hole in the wall, stresses me out. Again, I'll have to find a way to get over it.
I'm not all that comfortable with my level of playing yet, so "training" for a couple of months is what I had in mind to build myself a bit of confidence before facing those situations.
Funny how these threads can derail easily. I asked for some jamming CD suggestions and now, I'm knee-deep in a conversation about dealing with my fears of performing onstage.
Basically, on paper, I think I'm ready to front a band, but in reality, I need to work on assuming control, which I'm not too good at. I have a tendency to get assigned roles I'm not fit to take. I once read in an interview from a musician I don't recall that things changed once he adopted a "we're gonna kick ass!" attitude instead of shying away from the audience. I personally don't have that much-needed arrogance, but I'll give it a try and report back.
I'm moving into this new apartment at the end of the month if everything goes well, so I have a lot of things to look forward to. I'll need to work hard towards my onstage attitude and confidence levels.
But in the end, you're right ; I need to get out there, one way or another.
And Vie du yoo tink dat tis?
:smoke <<<cigar
You'll get over it by getting out there. Just do it. Spose is right, you need a band. You can't interact with a CD backing track the way you can with a buncha meat, wood, and metal.:heeI'll have to find a way to get over it.
Not a recommendation for a jamming CD, just a recommendation.
Now if you'd just sit on the couch......
I just wish you were able to hear your playing through other ears, you hear mistakes, all we hear is how great it is. So you're not SRV (perhaps once you get the hat), you're Joe, and Joe is a good thing to be.
Lawyer, politician, salesman, all the same.
We'll end up voting for you anyways, even if we don't.
I doubt I'll end up in this area. I'm an easterner at hart.
But one never knows. I wasn't supposed to end up in the West-Island either so... :)
And while we're on this jam night subject, I've never been to one.
I don't even know where there is one in Montreal.
You know of any Strat?
And even though I play in a band, I often hide in the back, sonicaly speaking, to mask my poor playing. I'd pooped my pants down if I were to get up at a jam session like that.
I wouldn't even know where to start to justify my going up there.
I'm no SRV or Vai or anything even remotely close to this.
I can't even play 2 fast notes in a row without missing one.
But Man, I'd love to do it one day.
But I'll probably end up being!
There's someone in my head but it's not me.
Fezz, that was what I got from ToneMonkey's post ; it's practice and after a while, I'll get desensitized about the whole stage freight thing and will be able to enjoy it more.
ToneMonkey, I don't know if I'll ever be in love with my own playing, but I'm in a situation now where I'm accepting my limits and that has made me a "smarter" player. It makes me realize what is impossible, what is realistic and what sounds "good." It's made me more of a melodic player than I used to be. *BUT*,... once in a while, it's great to just let go, go crazy and play like you're possessed.
I'm not a very versatile player, but I do what I can. I've always been facinated with music and enjoy it very much. Playing guitar has always been much more satisfying than anything else I can think of. Playing piano comes in at a close second. My next step, after I'm done "training", will probably be rhythm playing. Really good rhythm playing is much harder, IMHO, than good soloing. I'd like to explore that next. Guys like Kevin Barry are monster rhythm players! I guess when it comes down to it, the #1 reason why I'm not totally in love with my playing is because I'm overwhelmed and humbled by how little I actually know and how much more a lot of players know. It's a big mountain to climb, but at least, I'm enjoying every moment of it!
TC1, you never know. I'm at a point where I'm sick of spending my life in buses and being totally lethargic because of it. The West Island also costs more money than it actually should, so that makes it less rewarding for me. I don't think there are many positive qualities that I'll miss from the West Island.
As for the jams, there are a few. You can always pick up newspapers like Voir, Hour, Mirror and look in the concerts section. More often than not, in the Blues section, you'll see some jams here and there. Since the Blues scene in Montreal is *almost* dead, the jams are few and far between, but there are still a few. The ones I've been to have been at "Bistro a Jojo" and "Le Bar d'a Cote". In both cases, I was in over my head, the reason being that I was thrown the band leader role when I didn't know what I was doing. I just wanted to play and didn't know that that desire would come with extra roles to play.
Don't worry about the playing. Since you play in a band, you probably are more used to this than I am, so... As far as justifying your being on stage, I wouldn't sweat it. There are some people who can barely play out of tune and some people who can just do a couple of power chords here and there. It's all about playing with a bunch of people. Now, if only I could get rid of stage freight... :)
Stage freight? You have Trucks and a forklift at the jams in canada? Wow? ;)
The playing like you're possesed is great, it's better still when it happens on stage. Thats what you start to live for, it's worse than drugs.
As far as loving your playing, well I know some amazing players, I've spoken to more, and one thing is common, no one thinks they are great, they all feel lucky to be there. How well you feel that you play is almost immaterial. Music is a language, and what good is a language if you don't use it to communicate? You have a wide vocabulary, so you can't do Albert King perfectly, so what he can't do stratmangler. No-one I know loves their playing...it's belief that they are good enough and a desire to fell the rush that you get when IT happens perfectly. I wish that you, and and anyone who has the level of stage fright that stops them doing this lived nearby, I'd love to get a chance to shepherd folks through this, it would be rewarding.
You CAN do this, you ARE ready, don't argue, buy that hat and get on stage.
I still don't know about any good jam CD's though :spin
Mangler,
You just have to apply some common rules to live playing. For instance, there are only two important parts of the song: the start and the ending.
All that drivel in the middle only matters to musicians.
Now, the starting is pretty easy.....just say "1-2-3-Go"....You'll pick that up in no time.
Endings can be a bit tricky, but you'll find they also fall into certain categories and once you learn how to handle the major types, you'll relax and be able to
clue other band members or jammers on which type ending to use.
So, in the interest of brotherly love in this family of guitar players, I bequeath to you the secret and most important part of music
ENDING THE SONG
1. ABRUPT CHOP: The music ends abruptly followed by immediate and complete silence (without any ‘ring’ or sustain). This catches the dancers off guard before they are aware that the song has ended but manage a few more steps anyway. Sometimes resulting in an embarrassing situation. This type of ending can demonstrate to the audience that the band is tight and experienced (or not, if any of the players didn‘t catch the signal to end the song). Not recommended for ‘jamming’!
2. FADE-OUT: This a ‘cop-out’ used primarily in recording studios for songs that don’t have an ending. A very difficult effect to create live on stage and probably the least favorite of all. The dancers aren’t sure when to stop dancing nor are the players sure when the dbs are low enough to quit playing. Avoid this one!
3. TRAIN WRECK: A song that derails and falls apart. Things are chugging along nicely until half the band realizes (either correctly or not) that they should be ending the song soon, so they go into the ending passage. Meanwhile, the other half begins to repeat a verse. Everything becomes chaos and screeches to a messy stop as random chords and out-of-sync cymbal crashes echo off the walls. Talk about dumbfounded! Take a good look at the audience because you probably won’t ever see them again. This is another ending to avoid at all costs!
4. WHEEDLY-CRASH-BOOM-BANG: This is where the song’s timing stops and the guitar/bass/keyboards and any other instruments beat the hell out of a single chord (usually that of the key of the song) as fast as they can. The lead guitar player and/or keyboard player try to cram every lick they know into about 5 or 6 seconds as the drummer pounds ruthlessly on every cymbal, drum, and inanimate object within his reach, including those obscure drums he has not touched all night until now. This seems to be the most overused yet boring ending to a song. Check out the dancers! ....er.........What dancers?
5. THE SUSTAIN: This is when every player holds a chord (preferably the same one) with no rhythm, strumming, or pitch movement of any kind. Usually followed by an ABRUPT CHOP on the down beat of the next measure. This type of ending lets the dancers know what’s coming so they can end their motion creatively (to the best of their ability). A preferred ending by many!
6. ELONGATED: An elongated ending employs a combination of classic endings. First the dancers are surprised by ‘THE SUSTAIN’ with an ‘ABRUPT CHOP’ ending, followed by the primary vocalist pouring his/her soul into 2 to 4 more bars of acappella, immediately followed by a ‘WHEEDLY-CRASH-BOOM-BANG’. Hardest ending of all to accomplish effectively but worth the effort!
7. MEDLEY: This isn’t really an ending because the band goes directly into another song without stopping. Take the number of songs in the medley, subtract one, and that is how many endings you don’t have to worry about screwing up for the night!
8. PERPETUAL: Somewhere out there is a band still jamming along on a song because nobody knows how or where to end it. Someone should take the incentive to signal the others that “enough is enough” but no one will assume a leadership role. Eventually the players will tire (at different points in time) and just turn off their amps one by one while the heedless die-hard is too immersed in the moment to notice. (How many versus and solos can there be in “Hey Joe”?)
Get your ass out and play. You have a gift that should be shared.
pie
If you leave the house, you're just asking for it.
#2 :rofl
:lol :hee :lol
man that Pie has it going on :lol
think he played out?.... :wav
Man!
That Moonpie man is IT.
His wisdom, knowledge and insight are such that I have printed out a copy of his avatar and pinned it on the wall above my bed.
Every night I kneel beside my bed and prey.... err... pray the Pie for his benediction.
Hey! I know who the next Pope should be...
HAIL THE PIE!
:nicholas
There's someone in my head but it's not me.
Pie, you are a genius. I think I'll print that out and put it in front of the stage at the next jam I'm at.
I laughed quite a bit reading your post, Moonpie! I'll be sure to memorize the notes and apply them to my live playing. I'm sure they'll come quite handy, although I'm also sure to get strange looks at open mics when I call for a WHEEDLY-CRASH-BOOM-BANG or an ABRUPT CHOP! :lol
You're right about the starting and ending of a song being crucial. The way I see it, it's like flying a plane. Taking off and landing are the toughest and most important parts, since staying up is the easier part.
Of course, being green, I'll need to work at it, but hopefully, if I ever manage to form a band (nobody wants to play the Blues, in Montreal!), I'll be surrounded by more experienced musicians than I. Maybe I'll be able to pick their brain a bit and learn from the whole thing.
This whole conversation has left me hungry for guitar playing and onstage playing! I can't wait to move downtown! ARGH!
If playing a song is like riding a plane, I don't wanna be in a plane driven by a musician!
I'd hate to be part of the WHEEDLY-CRASH-BOOM-BANG landing!
There's someone in my head but it's not me.
Did you try these?
http://www.thefenderforum.com/forum/...backing+tracks
I found Vols 1 and 2 to be really good. Could be just what yer after.
http://www.ultimatejamtracks.com/
Will Ray of the Hellacasters has a couple of CDs on ebay.
Actual Nashville musicians playing together without puttting in the lead instruments.
Charlie Daughtry got permission to use a couple of trax for the Jam Zone on the LPF. You might check out those jams and see if it cranks your tractor.
If you leave the house, you're just asking for it.
Man, that sounds dirty! :lol
Will do, moonpie. Thanks for the tip. :)
Tom P, I checked those 2 CDs out and they're not half bad! This is probably the best I've heard so far, excluding a few TFF jam tracks. I just might order those. Thanks again.
Salut mes amies! Comment ca va?
I'm jumping in late on this tread but I've been reading it with some interest. Strat-mangler, The only advice i can give you is the same advice I've been giving to people at "that other forum" (you know which one). A poster was complaining about how much he sucked, and I advised him that it's not about chops, it's all about attitude. Whenever I get up on stage I take the attitude that I'm a badass player, and that I'd jam with anyone, even Clapton, SRV, Hendrix, Frank Marino, or anyone else, maybe even show them a thing or two. It makes you a lot less nervous and you enjoy yourself more. And if you make a mistake, so what? You're not playing at the Montreal Forum in front of 18,000 people. Now, this attitude doesn't mean I can't improve my playing, because we all have room for improvement. But it makes the whole experience more enjoyable for me.
By the way, have you guys ever thought about "La Rive Sud", St.Lambert in particular? Just a short trip over Victoria Bridge and you're right downtown!
Thanks for the advice, stratovani! But I don't own a car, so... :)
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