Napster has recently announced it will now be offering MP3 downloads. Never a company to be left behind, the pioneer in music downloading is eager to face this new market challenge. Per their CEO and Chairman, Chris Gorog, I am happy with the progress that Napster has made. No doubt, Gorog is counting on continued success in the MP3 offerings Napster is set to launch also.
Napster is not nearly the whole story when it comes to the MP3 revolution. Though leaders at first in music sharing, they were beaten to the punch by others when offering MP3 files for download. Internet Underground Music Archive, MP3.com, LiquidAudio and RealAudio were offering MP3 downloads first. Because they have been available for a longer period of time and have massive libraries of MP3 downloads available, these three will prove worthy competition for Napster. There are also some cutting-edge musical artists who offer MP3 download from their websites; their scope is limited, however, so poses a smaller threat.
So far, the vast majority of major record labels continue to hold back from allowing their music to be download as MP3 files on music download sites that is, unless they can be assured that proper protection and technology is in place. The significant decline in CD sales may eventually force record labels to rethink their decisions. What may well be the final catalyst for record companies to release some control is the overwhelming success of Apple, with its iPod and iTunes Music Store. While Apple does not produce the only MP3 players (others like Zune do too), they certainly produce the most popular and most widely used.
Mr. Robert Enderle, Principal Analyst for the Enderle Group, is among the skeptics who are not entirely sure Napster can be successful with MP3 downloads. He has stated I cannot picture many iPod and iTunes users shifting to Napster since iTunes software is so integrated with Apple music. He is not alone in this feeling; other experts have expressed the same concerns.
Robert Enderle, however, does not indicate there is no hope for Napster to grow in the MP3 arena. Napster might have a chance if they choose to focus on the right competition. Enderle feels if they focused on competition with the likes of Amazon, they would have a greater chance of succeeding. Why is Amazon a good target for Napster to pursue? Because Amazon is not primarily a music download site.
Despite the odds, it is not wise to count Napster out just yet. Like a Phoenix rising form the ashes, Napster has reinvented itself a number of times already and remains very successful. There is every reason to believe they will continue to change as the times dictate.
Isaiah Henry is a guru in the music industry; he has written such reviews on Yahoo Music review . If you have questions or comments post on the Music Download Forum .
Saturday, October 25, 2008
The Inventive - Napster - Currently Presents New Products
Napster has recently announced it will now be offering MP3 downloads. Never a company to be left behind, the pioneer in music downloading is eager to face this new market challenge. Per their CEO and Chairman, Chris Gorog, I am happy with the progress that Napster has made. No doubt, Gorog is counting on continued success in the MP3 offerings Napster is set to launch also.
Napster is not nearly the whole story when it comes to the MP3 revolution. Though leaders at first in music sharing, they were beaten to the punch by others when offering MP3 files for download. Internet Underground Music Archive, MP3.com, LiquidAudio and RealAudio were offering MP3 downloads first. Because they have been available for a longer period of time and have massive libraries of MP3 downloads available, these three will prove worthy competition for Napster. There are also some cutting-edge musical artists who offer MP3 download from their websites; their scope is limited, however, so poses a smaller threat.
So far, the vast majority of major record labels continue to hold back from allowing their music to be download as MP3 files on music download sites that is, unless they can be assured that proper protection and technology is in place. The significant decline in CD sales may eventually force record labels to rethink their decisions. What may well be the final catalyst for record companies to release some control is the overwhelming success of Apple, with its iPod and iTunes Music Store. While Apple does not produce the only MP3 players (others like Zune do too), they certainly produce the most popular and most widely used.
Mr. Robert Enderle, Principal Analyst for the Enderle Group, is among the skeptics who are not entirely sure Napster can be successful with MP3 downloads. He has stated I cannot picture many iPod and iTunes users shifting to Napster since iTunes software is so integrated with Apple music. He is not alone in this feeling; other experts have expressed the same concerns.
Robert Enderle, however, does not indicate there is no hope for Napster to grow in the MP3 arena. Napster might have a chance if they choose to focus on the right competition. Enderle feels if they focused on competition with the likes of Amazon, they would have a greater chance of succeeding. Why is Amazon a good target for Napster to pursue? Because Amazon is not primarily a music download site.
Despite the odds, it is not wise to count Napster out just yet. Like a Phoenix rising form the ashes, Napster has reinvented itself a number of times already and remains very successful. There is every reason to believe they will continue to change as the times dictate.
Isaiah Henry is a guru in the music industry; he has written such reviews on Yahoo Music review . If you have questions or comments post on the Music Download Forum .
Napster is not nearly the whole story when it comes to the MP3 revolution. Though leaders at first in music sharing, they were beaten to the punch by others when offering MP3 files for download. Internet Underground Music Archive, MP3.com, LiquidAudio and RealAudio were offering MP3 downloads first. Because they have been available for a longer period of time and have massive libraries of MP3 downloads available, these three will prove worthy competition for Napster. There are also some cutting-edge musical artists who offer MP3 download from their websites; their scope is limited, however, so poses a smaller threat.
So far, the vast majority of major record labels continue to hold back from allowing their music to be download as MP3 files on music download sites that is, unless they can be assured that proper protection and technology is in place. The significant decline in CD sales may eventually force record labels to rethink their decisions. What may well be the final catalyst for record companies to release some control is the overwhelming success of Apple, with its iPod and iTunes Music Store. While Apple does not produce the only MP3 players (others like Zune do too), they certainly produce the most popular and most widely used.
Mr. Robert Enderle, Principal Analyst for the Enderle Group, is among the skeptics who are not entirely sure Napster can be successful with MP3 downloads. He has stated I cannot picture many iPod and iTunes users shifting to Napster since iTunes software is so integrated with Apple music. He is not alone in this feeling; other experts have expressed the same concerns.
Robert Enderle, however, does not indicate there is no hope for Napster to grow in the MP3 arena. Napster might have a chance if they choose to focus on the right competition. Enderle feels if they focused on competition with the likes of Amazon, they would have a greater chance of succeeding. Why is Amazon a good target for Napster to pursue? Because Amazon is not primarily a music download site.
Despite the odds, it is not wise to count Napster out just yet. Like a Phoenix rising form the ashes, Napster has reinvented itself a number of times already and remains very successful. There is every reason to believe they will continue to change as the times dictate.
Isaiah Henry is a guru in the music industry; he has written such reviews on Yahoo Music review . If you have questions or comments post on the Music Download Forum .
The Inventive - Napster - Currently Presents New Products
Napster has recently announced it will now be offering MP3 downloads. Never a company to be left behind, the pioneer in music downloading is eager to face this new market challenge. Per their CEO and Chairman, Chris Gorog, I am happy with the progress that Napster has made. No doubt, Gorog is counting on continued success in the MP3 offerings Napster is set to launch also.
Napster is not nearly the whole story when it comes to the MP3 revolution. Though leaders at first in music sharing, they were beaten to the punch by others when offering MP3 files for download. Internet Underground Music Archive, MP3.com, LiquidAudio and RealAudio were offering MP3 downloads first. Because they have been available for a longer period of time and have massive libraries of MP3 downloads available, these three will prove worthy competition for Napster. There are also some cutting-edge musical artists who offer MP3 download from their websites; their scope is limited, however, so poses a smaller threat.
So far, the vast majority of major record labels continue to hold back from allowing their music to be download as MP3 files on music download sites that is, unless they can be assured that proper protection and technology is in place. The significant decline in CD sales may eventually force record labels to rethink their decisions. What may well be the final catalyst for record companies to release some control is the overwhelming success of Apple, with its iPod and iTunes Music Store. While Apple does not produce the only MP3 players (others like Zune do too), they certainly produce the most popular and most widely used.
Mr. Robert Enderle, Principal Analyst for the Enderle Group, is among the skeptics who are not entirely sure Napster can be successful with MP3 downloads. He has stated I cannot picture many iPod and iTunes users shifting to Napster since iTunes software is so integrated with Apple music. He is not alone in this feeling; other experts have expressed the same concerns.
Robert Enderle, however, does not indicate there is no hope for Napster to grow in the MP3 arena. Napster might have a chance if they choose to focus on the right competition. Enderle feels if they focused on competition with the likes of Amazon, they would have a greater chance of succeeding. Why is Amazon a good target for Napster to pursue? Because Amazon is not primarily a music download site.
Despite the odds, it is not wise to count Napster out just yet. Like a Phoenix rising form the ashes, Napster has reinvented itself a number of times already and remains very successful. There is every reason to believe they will continue to change as the times dictate.
Isaiah Henry is a guru in the music industry; he has written such reviews on Yahoo Music review . If you have questions or comments post on the Music Download Forum .
Napster is not nearly the whole story when it comes to the MP3 revolution. Though leaders at first in music sharing, they were beaten to the punch by others when offering MP3 files for download. Internet Underground Music Archive, MP3.com, LiquidAudio and RealAudio were offering MP3 downloads first. Because they have been available for a longer period of time and have massive libraries of MP3 downloads available, these three will prove worthy competition for Napster. There are also some cutting-edge musical artists who offer MP3 download from their websites; their scope is limited, however, so poses a smaller threat.
So far, the vast majority of major record labels continue to hold back from allowing their music to be download as MP3 files on music download sites that is, unless they can be assured that proper protection and technology is in place. The significant decline in CD sales may eventually force record labels to rethink their decisions. What may well be the final catalyst for record companies to release some control is the overwhelming success of Apple, with its iPod and iTunes Music Store. While Apple does not produce the only MP3 players (others like Zune do too), they certainly produce the most popular and most widely used.
Mr. Robert Enderle, Principal Analyst for the Enderle Group, is among the skeptics who are not entirely sure Napster can be successful with MP3 downloads. He has stated I cannot picture many iPod and iTunes users shifting to Napster since iTunes software is so integrated with Apple music. He is not alone in this feeling; other experts have expressed the same concerns.
Robert Enderle, however, does not indicate there is no hope for Napster to grow in the MP3 arena. Napster might have a chance if they choose to focus on the right competition. Enderle feels if they focused on competition with the likes of Amazon, they would have a greater chance of succeeding. Why is Amazon a good target for Napster to pursue? Because Amazon is not primarily a music download site.
Despite the odds, it is not wise to count Napster out just yet. Like a Phoenix rising form the ashes, Napster has reinvented itself a number of times already and remains very successful. There is every reason to believe they will continue to change as the times dictate.
Isaiah Henry is a guru in the music industry; he has written such reviews on Yahoo Music review . If you have questions or comments post on the Music Download Forum .
Sunday, September 7, 2008
toy sales in mainland of China
In recent years, it appears some characteristics for toy sales in mainland of China:
1. Model Toys
Electric model toys attract both children and adults, such as tank cars, cars installed with alarm whistle and so on. Though these toys are not cheap in price, especially the electric toys, commonly between 8-10 dollars, some even as high as 80-100 dollars, but they have a strong footing in the market.
2. RC Toys
Appeared with high technology, for instance, electronic toys that can sound or shine, rc toys and interactive toys that can speak or perform a series of actions are salable goods. Presently, various rc toys on sale in the market reach about 1 hundred kinds, mainly are variety of rc toys (remote control toys) and hobby items, such as rc car, rc helicopter, nitro rc car, rc gas boat, remote control helicopter, remote control car etc., each rc car(remote control car) costs about 20-65 dollars，rc gas boat(remote control gas boat) is about 20-50 dollars，and the price of rc helicopter differs between 450 - 2,000 dollars.
3. Plastic Toys
Plastic has taken the place of metal, wood and have become the main material for toys making, because it costs low, easily deals with, safer and light.
4. Adult Toys
Besides the children toys, adult toys in mainland of China are also have large market. According to the latest investigation of China Social Investigation Office, 33 of the whole year consumption for Chinese citizens to buy toys, and with the toy development of top grade, brightness and series, in particular, rc toys (remote control toys) and hobby items, such as rc car, rc helicopter, nitro rc car, rc gas boat, remote control helicopter, remote control car etc., the toy consumption will be in the status of advancing.
1. Model Toys
Electric model toys attract both children and adults, such as tank cars, cars installed with alarm whistle and so on. Though these toys are not cheap in price, especially the electric toys, commonly between 8-10 dollars, some even as high as 80-100 dollars, but they have a strong footing in the market.
2. RC Toys
Appeared with high technology, for instance, electronic toys that can sound or shine, rc toys and interactive toys that can speak or perform a series of actions are salable goods. Presently, various rc toys on sale in the market reach about 1 hundred kinds, mainly are variety of rc toys (remote control toys) and hobby items, such as rc car, rc helicopter, nitro rc car, rc gas boat, remote control helicopter, remote control car etc., each rc car(remote control car) costs about 20-65 dollars，rc gas boat(remote control gas boat) is about 20-50 dollars，and the price of rc helicopter differs between 450 - 2,000 dollars.
3. Plastic Toys
Plastic has taken the place of metal, wood and have become the main material for toys making, because it costs low, easily deals with, safer and light.
4. Adult Toys
Besides the children toys, adult toys in mainland of China are also have large market. According to the latest investigation of China Social Investigation Office, 33 of the whole year consumption for Chinese citizens to buy toys, and with the toy development of top grade, brightness and series, in particular, rc toys (remote control toys) and hobby items, such as rc car, rc helicopter, nitro rc car, rc gas boat, remote control helicopter, remote control car etc., the toy consumption will be in the status of advancing.
"Ready to Fly" models
When using a 4-channel radio control functions 5 model helicopter had to put an end to its unique challenges and results. What they did had used the "Y" connector into the throttle and the pitch servo. Then, mechanically set up the throttle and the pitch curve, the heli.
Kun'70 's 2 was the basic type of Helis, teetering head, a fixed pitch, and soon after became a collective pitch. And, just as today, some people were driven directly to the tail rotors systems, while the other went to belt drive.
The first of these Helin, where difficult to fly, it was a very bad control and lacked the tail gyros, radio, or the mixture of modern connivances, which make today Helis to fly so well and easily. We even had to mechanically impose lead / lag of the main wings, until we were left only 2, 3 bolts, the main blades and let them apply for it, we will lead / lag.
But RC Model helicopter matured quickly, and it will,'80 's rc Model Helicopter could fly quite nicely, radio manufacturers began to make a good Helicopter Radios, Helicopters itself was a modern style Bell / HILLER control system, a single point Main Blade attachment to the Self-Lead / Lag and gyros became a common place. Direct drive or belt drive the tail rotors yet been used.
Kun'80 's ja'90' s Far East began to create a beautiful Models of all sizes. And the "Ready to Fly" models became common place. The race was one and the things they began to do with the rc helicopter had only a limited as the imagination.
I would like to think that this century does not know as the "Age of Electrics", and now you can get the Electric Helicopter in any size, (small enough to correct it in your hand) 40-60 size.
And they can never fly, they are competitive with other fuel choppers, just a quiet, and does not smoke, did not start the necessary equipment and are fully capable of 3D.
So if you're flying the interests lean towards the rotary wings of birds, take a look at the new electrics. They are doing so simple today, that you can buy one, to open the box, and charge the batteries and to fly, even if you've never seen before!
Kun'70 's 2 was the basic type of Helis, teetering head, a fixed pitch, and soon after became a collective pitch. And, just as today, some people were driven directly to the tail rotors systems, while the other went to belt drive.
The first of these Helin, where difficult to fly, it was a very bad control and lacked the tail gyros, radio, or the mixture of modern connivances, which make today Helis to fly so well and easily. We even had to mechanically impose lead / lag of the main wings, until we were left only 2, 3 bolts, the main blades and let them apply for it, we will lead / lag.
But RC Model helicopter matured quickly, and it will,'80 's rc Model Helicopter could fly quite nicely, radio manufacturers began to make a good Helicopter Radios, Helicopters itself was a modern style Bell / HILLER control system, a single point Main Blade attachment to the Self-Lead / Lag and gyros became a common place. Direct drive or belt drive the tail rotors yet been used.
Kun'80 's ja'90' s Far East began to create a beautiful Models of all sizes. And the "Ready to Fly" models became common place. The race was one and the things they began to do with the rc helicopter had only a limited as the imagination.
I would like to think that this century does not know as the "Age of Electrics", and now you can get the Electric Helicopter in any size, (small enough to correct it in your hand) 40-60 size.
And they can never fly, they are competitive with other fuel choppers, just a quiet, and does not smoke, did not start the necessary equipment and are fully capable of 3D.
So if you're flying the interests lean towards the rotary wings of birds, take a look at the new electrics. They are doing so simple today, that you can buy one, to open the box, and charge the batteries and to fly, even if you've never seen before!
fly a helicopter 1 kilometer
Leonardo da Vinci, created on paper, at least with the first helicopter, and the first helicopter pilot was invented by Paul Cornu in 1907, however, this concept has not been successful. Another French, Etienne Oehmichen built and flew a helicopter 1 kilometer in 1924. An early practice helicopter flew for a good distance was the German Focke-Wulf Fw 61 invented by an unknown inventor.
Igor Sikorsky is considered the "father" of helicopters not because he invented the first. It is called because he invented the first successful helicopter, on which future models were based. http://www.rcroll.com
So where when the helicopter RC model start? Well, I do not know who is credited with the first RC helicopter model, but it was in the 70 years that the RC Helicopter revolution really began.
For the most part, they were all fed Nitro, using models of aircraft engines (40 and .60 size) and 4-6 aircraft radio channel.
Igor Sikorsky is considered the "father" of helicopters not because he invented the first. It is called because he invented the first successful helicopter, on which future models were based. http://www.rcroll.com
So where when the helicopter RC model start? Well, I do not know who is credited with the first RC helicopter model, but it was in the 70 years that the RC Helicopter revolution really began.
For the most part, they were all fed Nitro, using models of aircraft engines (40 and .60 size) and 4-6 aircraft radio channel.
Friday, September 5, 2008
Do You PlayFree Online Games
There are sites that section accept any article that you submit to them. There are others who at least have a look on your articles. And then there are others that read your articles and are very liberal in their rejection.
There are many reasons that articles get rejected. One of them is the writer that the language is very like advertising. And what the writer is clearly trying to promote a sale rather than write an article.
The last time I wrote an article about how much I loved free sites online games, one of the lesser known article sites rejected the article on the "pretext" that section is one too many advertising!
And I was like, "What?" I am very probably adulatory, but also think about what I mean, I love so much. I mean I like playing games online. So what is the sale that I'm doing here: Play? Some games? East online? Ridiculous!
Still, here I am again. Once more willing to inform all my readers that there is little joy as accessible and responsive play games online. And the fact that they are generally available for free makes the right price too.
First, I like the fact that the free online game sites have really taken on creativity in their hands and have explored every kind of game very thoroughly. Whether arcade, adventure, action, role playing, strategy, shoot-em, race or any other genres, I think that gambling sites have really done a good job to come up with new ideas to hot.
Then there are incredible resources dependence play against and compare your scores compared to others worldwide. This creates a large ecosystem for all those interested in competition gameplaying.
Beyond that, when I take a random walk on the path of most sites gameplaying, I think the overall layout and navigation is very attractive. Despite the fact that these sites are clearly keeping all games free simply using advertising and affiliate revenue, I think the top gamesites keep the sites free of advertising intrusive.
There are many reasons that articles get rejected. One of them is the writer that the language is very like advertising. And what the writer is clearly trying to promote a sale rather than write an article.
The last time I wrote an article about how much I loved free sites online games, one of the lesser known article sites rejected the article on the "pretext" that section is one too many advertising!
And I was like, "What?" I am very probably adulatory, but also think about what I mean, I love so much. I mean I like playing games online. So what is the sale that I'm doing here: Play? Some games? East online? Ridiculous!
Still, here I am again. Once more willing to inform all my readers that there is little joy as accessible and responsive play games online. And the fact that they are generally available for free makes the right price too.
First, I like the fact that the free online game sites have really taken on creativity in their hands and have explored every kind of game very thoroughly. Whether arcade, adventure, action, role playing, strategy, shoot-em, race or any other genres, I think that gambling sites have really done a good job to come up with new ideas to hot.
Then there are incredible resources dependence play against and compare your scores compared to others worldwide. This creates a large ecosystem for all those interested in competition gameplaying.
Beyond that, when I take a random walk on the path of most sites gameplaying, I think the overall layout and navigation is very attractive. Despite the fact that these sites are clearly keeping all games free simply using advertising and affiliate revenue, I think the top gamesites keep the sites free of advertising intrusive.
Electric Guitar Facts You May Not Know
The Need for Electric Guitars:
Electric guitars first appeared because of an unlikely demand. It is a well known electric guitar fact that the first instruments were needed by big jazz bands in the early 1930's. Bandleaders called for a source of amplification for the guitar so that it could be heard over the screaming horn sections and drums. Electric guitars for jazz were initially hollow bodied in nature, and this eventually led to the use of the instrument in other genres of music.
The First Electric Guitarist:
There were many attempts to create a guitar that could be amplified in the 1930's. Players and manufacturers experimented with attaching microphones to guitars, but their feats produced few viable results. The first successfully produced electric guitar was called the Rickenbacker. Now with this great new invention, there had to be a person that could really make the instrument sing. Electric guitars are different from acoustic guitars. Remember that at this time, there was no such thing as electric guitar technique. Charlie Christian is heralded as the very first electric guitarist. His unique guitar playing technique went on to inspire many other famous guitarists, and as more players began to develop skill, a need arose for more progressive models of electric guitars.
The First Solid Body Electric Guitar:
One of the most widely known electric guitar facts is that innovator Les Paul created the solid body electric guitar. One of the most recognizable instruments in the world, the solid body electric is so popular these days largely due to the early efforts of Les Paul. Les Paul wanted a smaller bodied guitar that relied more on the power of its electronics than acoustic offerings of a hollow body electric. Makers like Fender and Rickenbacker quickly followed suit and began producing impressive solid body electrics. The Les Pal model, however, retains its seat as the king of all electrics, and is still one of the most popularly sold and played instruments today.
The Electric Guitar Invades Classical Music:
Electric guitars are common in jazz, rock, blues, and country music. Gurus of all types tend to overlook electric guitar facts relating to classical music. The instrument crossed into this unlikely genre and plays an important role for classical guitarists and composers alike. Composers experiment with wild songs that call for some 100 electric guitarists, and the instruments are often employed for live performances and recording sessions alike.
Electric guitars first appeared because of an unlikely demand. It is a well known electric guitar fact that the first instruments were needed by big jazz bands in the early 1930's. Bandleaders called for a source of amplification for the guitar so that it could be heard over the screaming horn sections and drums. Electric guitars for jazz were initially hollow bodied in nature, and this eventually led to the use of the instrument in other genres of music.
The First Electric Guitarist:
There were many attempts to create a guitar that could be amplified in the 1930's. Players and manufacturers experimented with attaching microphones to guitars, but their feats produced few viable results. The first successfully produced electric guitar was called the Rickenbacker. Now with this great new invention, there had to be a person that could really make the instrument sing. Electric guitars are different from acoustic guitars. Remember that at this time, there was no such thing as electric guitar technique. Charlie Christian is heralded as the very first electric guitarist. His unique guitar playing technique went on to inspire many other famous guitarists, and as more players began to develop skill, a need arose for more progressive models of electric guitars.
The First Solid Body Electric Guitar:
One of the most widely known electric guitar facts is that innovator Les Paul created the solid body electric guitar. One of the most recognizable instruments in the world, the solid body electric is so popular these days largely due to the early efforts of Les Paul. Les Paul wanted a smaller bodied guitar that relied more on the power of its electronics than acoustic offerings of a hollow body electric. Makers like Fender and Rickenbacker quickly followed suit and began producing impressive solid body electrics. The Les Pal model, however, retains its seat as the king of all electrics, and is still one of the most popularly sold and played instruments today.
The Electric Guitar Invades Classical Music:
Electric guitars are common in jazz, rock, blues, and country music. Gurus of all types tend to overlook electric guitar facts relating to classical music. The instrument crossed into this unlikely genre and plays an important role for classical guitarists and composers alike. Composers experiment with wild songs that call for some 100 electric guitarists, and the instruments are often employed for live performances and recording sessions alike.
Wednesday, September 3, 2008
What to Look for in a Karaoke Machine
What to Look for in a Karaoke Machine
Audio Quality Some karaoke machines have extremely powerful audio quality, powerful enough to make even the worse voices sound tolerable. Besides voice projection, make sure that the karaoke machine also allows the user to manage and modify audio quality through manual control of bass, pitch, tone and other sound elements.
Video Graphics
Can the background used on songs be changed Are the graphics viewable for all ages
Portability If you like traveling with your karaoke machine at all times, you might do better with a microphone based karaoke machine than all others.
Ratings
Several types of karaoke machines are not equipped with rating capabilities. Be prepared to pay for more if you wish to know whether your singing abilities are improving or not.
Song Database
Does the karaoke machine allow you to add more songs to the database, or at least change discs or chips so you can try out new ones
Durability
This is tricky to determine although lower prices usually suggests inferior quality and durability; its better, however, to browse online for reviews on the karaoke machine youre planning to purchase.
Accessories for Your Karaoke Machine
There are several items you can purchase to improve the performance of your karaoke machine, keep it safer and generally have more fun with it!
Amplifiers Make the walls vibrate with the powerful resonance of your lovely voice when you connect amplifiers to your karaoke machine. Be careful however when buying amplifiers; if youre not an expert on sound quality, find one to help you determine the model that produces the best sounds for the price you can afford.
Karaoke Machines
Almost everyone likes to sing, whether or not the voice because it is regarded as minimal. Also, the best man-made invention that allows us to satisfy their desires crooning is probably no other than the karaoke machine.
The word karaoke, often mispronounced with a long e at the end instead of a short one, came from a Japanese word meaning empty orchestra. A karaoke machine allows a player to sing a song without the accompaniment of primary votes, and read the words of a monitor. Initially given only by wealthy individuals and public places like restaurants and nightclubs, karaoke machine gradually gained popularity, and its use quickly spread to the USA and other European regions.
Karaoke Machines using cassettes The first karaoke machine has made use of tapes and printed words. Although this model is considered obsolete, some brand new models and many new models are still sold on the market. It usually comes with a free microphone.
Standard Machine Karaoke There are two types of machines that are currently in use today - which is the self-service and others, through the automatic use of a remote control. Both, however, may be connected to a TV monitor and used with a microphone. The audio quality, tone and tempo can be adjusted. Digital Songs are added to the database of karaoke machines. Most karaoke machines are also able to provide users with notations for songs sung theyve.
The word karaoke, often mispronounced with a long e at the end instead of a short one, came from a Japanese word meaning empty orchestra. A karaoke machine allows a player to sing a song without the accompaniment of primary votes, and read the words of a monitor. Initially given only by wealthy individuals and public places like restaurants and nightclubs, karaoke machine gradually gained popularity, and its use quickly spread to the USA and other European regions.
Karaoke Machines using cassettes The first karaoke machine has made use of tapes and printed words. Although this model is considered obsolete, some brand new models and many new models are still sold on the market. It usually comes with a free microphone.
Standard Machine Karaoke There are two types of machines that are currently in use today - which is the self-service and others, through the automatic use of a remote control. Both, however, may be connected to a TV monitor and used with a microphone. The audio quality, tone and tempo can be adjusted. Digital Songs are added to the database of karaoke machines. Most karaoke machines are also able to provide users with notations for songs sung theyve.
Wednesday, August 27, 2008
Nitro Engine
The nitro engine is the core of your tank so once you get the engine tuned and running smoothly, its just needs to be maintained regularly. There are many different engine break in methods. Unless youve broken a nitro engine in previously, follow the instructions for breaking in and tuning your engine if they are included.
Your nitro engine will require regular maintenance to keep it performing well. You will also need to check the tracks, shocks, and other tank parts.
You are going to have hours of fun with your nitro remote control tank. Whether you are playing military games in the back country or just having some fun climbing around the dunes, youll have plenty of adrenaline rushes with your new toy.
monster RC truck
If you don't yet have a monster RC truck and you're wondering what the appeal is, these vehicles are designed for off road areas, and some even do stunts and tricks such as riding over other vehicles and turning themselves upright after a rollover.
Unlike many of their model car cousins, an RC truck is less about racing and more about maneuverability. They can be fun and challenging for all ages, and many people find them as much fun to build as they are to drive.
As far as radio control vehicles go, a monster remote control truck is really in a class by itself and if you're looking for a challenge beyond an RC truck that goes really fast in a straight line, you may want to check out the excitement of monster trucks!
Nikko radio control trucks
If you are looking for something smaller than the 1/24 scale, Nikko also has a line of mini radio control cars.
Nikko doesnt limit themselves only to building one style of boat either. They sport a sailboat model as well as a submarine. They have the Wave Skier, which actually has a skier that trails behind the boat. They also have the Sea Tiger submarine designed for the youngest radio control fans. Nikko radio control trucks come in varieties such as the Jeep, Avalanche, Ram, and Hummer. Nikko even makes a special Hummer that has a camera attached to it. They call this their Hummer H2 Spycam, and it comes in 1/14 scale. It even has headlights to light up the area for the camera.
Nikko also sports their 1/18 scale Executor, which has dual motors and rubber tracks like the ones on bulldozers. This makes these great Nikko radio control cars for use in rough terrain.
The cars come in 27MHz or 49MHz so one of your Nikko RC cars can be raced against another car from Nikko or other manufacturers as long has the two cars have different frequencies.
If you are buying multiple Nikko radio control cars or know who you will be racing with, check the frequency of the cars to make sure they are different. This is important because you cant change the frequency of most Nikko radio control cars.
Some of the larger Nikko radio control cars do come with removable frequency band crystals, which can be changed in the vehicle. Changing the crystals out allows a vehicle to operate on a different band of the same frequency. There are six such channels possible, so you could race up to six vehicles at the same time.
If you are in the market for radio control cars, the vehicles mentioned here are just a few of the Nikko radio control cars they have to offer. As mentioned before, they claim to be the largest manufacturer of radio control vehicles, and they seem to be coming out with more models everyday.
Nikko Radio Control Cars Explained
Nikko radio control cars are some of the most popular R/C vehicles on the market today, and they boast that they are the largest manufacturer of R/C items in the world.
Nikko limits their line to electric vehicles that operate on radio frequencies and does not participate in making any remote control vehicles (the ones with the wire attached to the car). They own all of their own manufacturing facilities, which they feel gives them more control over the quality of their product.
Nikko RC cars are a big part of the Nikko line, but they arent the only vehicles manufactured at the Nikko facilities. They also make buggies, boats, tanks, and planes.
Their other vehicles come in a wide variety of sizes and models. The scales of Nikko vehicles include 1/10, 1/14, 1/16, 1/20 and 1/24 scales. Their models include a Dodge Viper GTS, a Lamborghini Murcielago, a Mini Cooper, an Aston Martin, a Corvette, and various other styles. Many of these different models come in a small assortment of specific colors.
Quality Hacker Brushless Motors and Other Choices
Hacker Brushless motors have become the power system of choice for many modelers because of their high quality, tremendous power and high efficiency. Their solid magnet, two pole rotors permit very high rpm (revolutions per minute) and they've been specifically developed for radio controlled models.
All motors are designed and produced in Southern Germany near Munich (Home of BMW). Every motor embodies precision German technology and manufacturing techniques to create very powerful and efficient motors systems.
Hacker Brushless motors are very highly regarded with the German competition flyers. However, they are not just suited to competition use, as a very wide range of windings are available, making them suitable for almost any model requiring the high performance and efficiency of a brushless motor.
If you're interested in a Hacker but can't afford one, I do carry the incredible MTM brushless motors which have revolutionized the brushless field. Click on the photo below and you'll be taken to my other brushless motor page.
Brushless motors are much more powerful than traditional brushed motors. There are no contacting parts, so there's nothing to "wear out" like on the regular motor.
Saturday, June 14, 2008
Creating The Perfect Structure For Your Song
You know what they say about rules? Actually they say lots of things about rules but here's two - rules were made to be broken, and you have to know what the rules are before you can break them. While Judge Dredd may not agree with the first, the second is certainly true and nevermore so than in writing a song.
The song structure may not be the first thing you think about when you start writing. You probably work on the verse or chorus, or maybe you have a good riff that you want to expand into a song. So you get that down and then you start to think about the other parts - the intro, how many verses, middle eight, do you want an instrumental, the ending...
Some song genres have a fairly rigid format, others are more flexible, and you need to know where you can bend the rules and why you may not want to do so in order to make your song stand out from the others. Let's look at the sections you'll find in most songs and the part they play in song construction.
Song parts
Intro. Yes, this leads you into the song. It may be two, four or eight bars long or longer. Some songs don't have any intro at all. A pop song intro will often be reminiscent of the chorus or the hook. In a club song, it's often a good idea to have eight bars of rhythm to help the DJ to mix match your song. They say that music publishers typically only listen to the first 20 seconds of a song before deciding whether to reject it so if you're sending material to a publisher, keep the intro short and get into the song as quickly as possible. Save the 5 minute intros for the CD version.
Verse. This is the preamble to the chorus. It sets the scene, certainly lyrically, and as the verses progress they often tell a story or recount episodes from a situation although that's by no means essential. They are typically eight or sixteen bars long and melodically not usually as strong as the chorus although, again, that's by no means essential. However, it often seems as if the songwriter ran out of ideas when writing the verse. One of the strengths of The Beatles' songs is that verses and choruses are equally strong and most people could hum or sing their way through most Beatles hits. Not so with many songs where the verses are little more than fillers to get you to the chorus.
Chorus. This the bit everyone remembers, whistles and sings along to. It should be the strongest part of the song and generally is or contains the hook. It's usually eight or sixteen bars long.
Middle eight. As a song progresses, there's a danger of boredom setting for the listener. The middle eight offers them a break and typically comes after a couple of verses and choruses. Some people think of it as an alternative verse and that's one way to look at it. It often modulates to a different key or introduces a new chord progression and it usually doesn't include the song title. However, all too often it's simply an excuse for waffling on for a few bars. Although it's called the middle eight it could be four or sixteen bars long.
Bridge. Many people use the terms 'middle eight' and 'bridge' synonymously and so popular is this usage that it would be churlish to disagree. However, among those who prefer to note the difference, a bridge is a short section used to bridge the gap between verse and chorus. It may only be two or four bars long and it's often used when the verse and chorus are so different from each other that a 'joining' phrase helps bring them together.
Instrumental. This is part of the song without any vocals. Yeah, okay. It's often an instrumental version of the verse or chorus, it may be an improvised variation on one of these, or it may be an entirely different tune and set of chords altogether. Sometimes it fits into a song where a vocal middle eight would otherwise go.
Breakdown/Break. This term has been high jacked from songs from the early 1900s when it was common to either to reduce the instrumentation or stop it altogether while a tap dancer would strut his stuff. The term 'break' is still sometimes used to indicate an instrumental section. 'Breakdown' is now most commonly used in dance music for the section where the percussion breaks down or is reduced, and it may be the dance equivalent of the middle eight.
Outro/Ending. Once upon a time, songs had definite endings but the mid 1950s heralded in the era of the fade-out and songwriters thought they would never have to write an ending again. However, fade-outs became such clichs to the extent that fade out meant cop out so songwriters started writing endings again. With that in mind, you can do as you wish, and considering that the endings of most songs get talked over or cut short by radio DJs and mixed over by club DJs, you have only your artistic integrity and your CD listeners to answer to. Some songs work extremely well with fade outs but listen to songs in your chosen genre to see how other writers approach endings. But whatever you do, avoid like the plague the three time tag ending.
Hook. The hook is not a song part as such; rather it's the term used to describe the part of the song that people remember and sing. It's what they buy the record for. It's usually the chorus although it need not be the entire chorus, but simply a two- or four-bar phrase. It could be an instrumental riff as in Whiter Shade of Pale or Smoke on the Water, or a processed vocal as in Cher's Believe.
All together now
Having described the parts of a song, let's see how they are commonly arranged. The most popular arrangement by far is simply verse-chorus and repeat. Here are two variations on the theme:
Intro
Verse 1
Chorus
Verse 2
Chorus
Chorus
Outro
Intro
Verse 1
Verse 2
Chorus
Verse 3
Middle eight
Chorus
Chorus
Outro
You get the picture. However, these are conventions rather than rules so you can adapt, change or ignore them as you see fit. But they have developed for a reason and that is simply to make the song as immediately appealing to the listener as possible.
Listen to some of the Stock, Aitken and Waterman hits of the 80s (it's not compulsory if you really can't bear to) and you'll see that most follow the simplest format, guaranteed to brainwash the listener with as many repeats of the hook as possible. They tend to be:
Intro (similar to the chorus)
Verse 1
Chorus
Verse 2
Middle eight
Chorus
Chorus
Outro
Notice that the hook's there straight away in the intro, there's only one verse before the chorus so you get to it quicker, and the chorus tends to repeat at the end, just to imprint the hook firmly in your mind.
There are obvious exceptions to these formats. Ambient, trance, chill-out music and the like, are obvious candidates. With these you can start at the beginning and work through to the end creating an evolving music form without any clear verse/chorus structure. Genres such as trance tend to build to a series of crescendos several times throughout the song. However, even these types of song often have a hook or two on which listeners can hang their hat.
Build ups and downs
Bearing in mind that the purpose of a song is to keep the listeners listening and not allow them to get bored, you need variety within the song. Simply strumming a guitar and singing verse/chorus/verse/chorus won't cut the mustard unless you're in a folk club. The usual method is to start with a simple arrangement and add to it as the song progresses.
So, the first verse might consist of light drums, bass and rhythm guitar. As you move into the second verse you could add strings or a synth pad. A drum fill takes you into the chorus which would include busier drums, maybe some additional percussion, a fuller string arrangement and perhaps a lead line. When you dip back to the verse, you revert to the simpler arrangement.
The middle eight is usually a lighter arrangement than the chorus and gives you the opportunity to use different instrumentation if you want to. When you hit the second chorus, add backing vocals and a lead riff. The final chorus is the culmination the song and you can add more backing vocals, more percussion and additional lead lines.
Listen to songs in the style you are writing and analyse their formats to see how far other exponents have stuck to or departed from the traditional formats. when you're familiar with the rules or conventions that they use, then you can experiment by breaking them.
There's lots more about making music plus a free book to download at www.making-music.com.
****
Ian Waugh is one of the UK's leading hi tech music writers and creator of www.making-music.com. He has written for most of the major - and not so major - hi tech music magazines in the UK and many general computing titles both offline and online.
His output numbers over 2,000 articles, features and reviews and he has written several books and albums. He is author of the "Quick Guide to..." series which includes the Quick Guide to Dance Music, Digital Audio Recording, MP3 and Digital Music, and Analogue Synthesis.
****
The song structure may not be the first thing you think about when you start writing. You probably work on the verse or chorus, or maybe you have a good riff that you want to expand into a song. So you get that down and then you start to think about the other parts - the intro, how many verses, middle eight, do you want an instrumental, the ending...
Some song genres have a fairly rigid format, others are more flexible, and you need to know where you can bend the rules and why you may not want to do so in order to make your song stand out from the others. Let's look at the sections you'll find in most songs and the part they play in song construction.
Song parts
Intro. Yes, this leads you into the song. It may be two, four or eight bars long or longer. Some songs don't have any intro at all. A pop song intro will often be reminiscent of the chorus or the hook. In a club song, it's often a good idea to have eight bars of rhythm to help the DJ to mix match your song. They say that music publishers typically only listen to the first 20 seconds of a song before deciding whether to reject it so if you're sending material to a publisher, keep the intro short and get into the song as quickly as possible. Save the 5 minute intros for the CD version.
Verse. This is the preamble to the chorus. It sets the scene, certainly lyrically, and as the verses progress they often tell a story or recount episodes from a situation although that's by no means essential. They are typically eight or sixteen bars long and melodically not usually as strong as the chorus although, again, that's by no means essential. However, it often seems as if the songwriter ran out of ideas when writing the verse. One of the strengths of The Beatles' songs is that verses and choruses are equally strong and most people could hum or sing their way through most Beatles hits. Not so with many songs where the verses are little more than fillers to get you to the chorus.
Chorus. This the bit everyone remembers, whistles and sings along to. It should be the strongest part of the song and generally is or contains the hook. It's usually eight or sixteen bars long.
Middle eight. As a song progresses, there's a danger of boredom setting for the listener. The middle eight offers them a break and typically comes after a couple of verses and choruses. Some people think of it as an alternative verse and that's one way to look at it. It often modulates to a different key or introduces a new chord progression and it usually doesn't include the song title. However, all too often it's simply an excuse for waffling on for a few bars. Although it's called the middle eight it could be four or sixteen bars long.
Bridge. Many people use the terms 'middle eight' and 'bridge' synonymously and so popular is this usage that it would be churlish to disagree. However, among those who prefer to note the difference, a bridge is a short section used to bridge the gap between verse and chorus. It may only be two or four bars long and it's often used when the verse and chorus are so different from each other that a 'joining' phrase helps bring them together.
Instrumental. This is part of the song without any vocals. Yeah, okay. It's often an instrumental version of the verse or chorus, it may be an improvised variation on one of these, or it may be an entirely different tune and set of chords altogether. Sometimes it fits into a song where a vocal middle eight would otherwise go.
Breakdown/Break. This term has been high jacked from songs from the early 1900s when it was common to either to reduce the instrumentation or stop it altogether while a tap dancer would strut his stuff. The term 'break' is still sometimes used to indicate an instrumental section. 'Breakdown' is now most commonly used in dance music for the section where the percussion breaks down or is reduced, and it may be the dance equivalent of the middle eight.
Outro/Ending. Once upon a time, songs had definite endings but the mid 1950s heralded in the era of the fade-out and songwriters thought they would never have to write an ending again. However, fade-outs became such clichs to the extent that fade out meant cop out so songwriters started writing endings again. With that in mind, you can do as you wish, and considering that the endings of most songs get talked over or cut short by radio DJs and mixed over by club DJs, you have only your artistic integrity and your CD listeners to answer to. Some songs work extremely well with fade outs but listen to songs in your chosen genre to see how other writers approach endings. But whatever you do, avoid like the plague the three time tag ending.
Hook. The hook is not a song part as such; rather it's the term used to describe the part of the song that people remember and sing. It's what they buy the record for. It's usually the chorus although it need not be the entire chorus, but simply a two- or four-bar phrase. It could be an instrumental riff as in Whiter Shade of Pale or Smoke on the Water, or a processed vocal as in Cher's Believe.
All together now
Having described the parts of a song, let's see how they are commonly arranged. The most popular arrangement by far is simply verse-chorus and repeat. Here are two variations on the theme:
Intro
Verse 1
Chorus
Verse 2
Chorus
Chorus
Outro
Intro
Verse 1
Verse 2
Chorus
Verse 3
Middle eight
Chorus
Chorus
Outro
You get the picture. However, these are conventions rather than rules so you can adapt, change or ignore them as you see fit. But they have developed for a reason and that is simply to make the song as immediately appealing to the listener as possible.
Listen to some of the Stock, Aitken and Waterman hits of the 80s (it's not compulsory if you really can't bear to) and you'll see that most follow the simplest format, guaranteed to brainwash the listener with as many repeats of the hook as possible. They tend to be:
Intro (similar to the chorus)
Verse 1
Chorus
Verse 2
Middle eight
Chorus
Chorus
Outro
Notice that the hook's there straight away in the intro, there's only one verse before the chorus so you get to it quicker, and the chorus tends to repeat at the end, just to imprint the hook firmly in your mind.
There are obvious exceptions to these formats. Ambient, trance, chill-out music and the like, are obvious candidates. With these you can start at the beginning and work through to the end creating an evolving music form without any clear verse/chorus structure. Genres such as trance tend to build to a series of crescendos several times throughout the song. However, even these types of song often have a hook or two on which listeners can hang their hat.
Build ups and downs
Bearing in mind that the purpose of a song is to keep the listeners listening and not allow them to get bored, you need variety within the song. Simply strumming a guitar and singing verse/chorus/verse/chorus won't cut the mustard unless you're in a folk club. The usual method is to start with a simple arrangement and add to it as the song progresses.
So, the first verse might consist of light drums, bass and rhythm guitar. As you move into the second verse you could add strings or a synth pad. A drum fill takes you into the chorus which would include busier drums, maybe some additional percussion, a fuller string arrangement and perhaps a lead line. When you dip back to the verse, you revert to the simpler arrangement.
The middle eight is usually a lighter arrangement than the chorus and gives you the opportunity to use different instrumentation if you want to. When you hit the second chorus, add backing vocals and a lead riff. The final chorus is the culmination the song and you can add more backing vocals, more percussion and additional lead lines.
Listen to songs in the style you are writing and analyse their formats to see how far other exponents have stuck to or departed from the traditional formats. when you're familiar with the rules or conventions that they use, then you can experiment by breaking them.
There's lots more about making music plus a free book to download at www.making-music.com.
****
Ian Waugh is one of the UK's leading hi tech music writers and creator of www.making-music.com. He has written for most of the major - and not so major - hi tech music magazines in the UK and many general computing titles both offline and online.
His output numbers over 2,000 articles, features and reviews and he has written several books and albums. He is author of the "Quick Guide to..." series which includes the Quick Guide to Dance Music, Digital Audio Recording, MP3 and Digital Music, and Analogue Synthesis.
****
Thursday, March 6, 2008
Creating The Perfect Structure For Your Song
You know what they say about rules? Actually they say lots of things about rules but here's two - rules were made to be broken, and you have to know what the rules are before you can break them. While Judge Dredd may not agree with the first, the second is certainly true and nevermore so than in writing a song.
The song structure may not be the first thing you think about when you start writing. You probably work on the verse or chorus, or maybe you have a good riff that you want to expand into a song. So you get that down and then you start to think about the other parts - the intro, how many verses, middle eight, do you want an instrumental, the ending...
Some song genres have a fairly rigid format, others are more flexible, and you need to know where you can bend the rules and why you may not want to do so in order to make your song stand out from the others. Let's look at the sections you'll find in most songs and the part they play in song construction.
Song parts
Intro. Yes, this leads you into the song. It may be two, four or eight bars long or longer. Some songs don't have any intro at all. A pop song intro will often be reminiscent of the chorus or the hook. In a club song, it's often a good idea to have eight bars of rhythm to help the DJ to mix match your song. They say that music publishers typically only listen to the first 20 seconds of a song before deciding whether to reject it so if you're sending material to a publisher, keep the intro short and get into the song as quickly as possible. Save the 5 minute intros for the CD version.
Verse. This is the preamble to the chorus. It sets the scene, certainly lyrically, and as the verses progress they often tell a story or recount episodes from a situation although that's by no means essential. They are typically eight or sixteen bars long and melodically not usually as strong as the chorus although, again, that's by no means essential. However, it often seems as if the songwriter ran out of ideas when writing the verse. One of the strengths of The Beatles' songs is that verses and choruses are equally strong and most people could hum or sing their way through most Beatles hits. Not so with many songs where the verses are little more than fillers to get you to the chorus.
Chorus. This the bit everyone remembers, whistles and sings along to. It should be the strongest part of the song and generally is or contains the hook. It's usually eight or sixteen bars long.
Middle eight. As a song progresses, there's a danger of boredom setting for the listener. The middle eight offers them a break and typically comes after a couple of verses and choruses. Some people think of it as an alternative verse and that's one way to look at it. It often modulates to a different key or introduces a new chord progression and it usually doesn't include the song title. However, all too often it's simply an excuse for waffling on for a few bars. Although it's called the middle eight it could be four or sixteen bars long.
Bridge. Many people use the terms 'middle eight' and 'bridge' synonymously and so popular is this usage that it would be churlish to disagree. However, among those who prefer to note the difference, a bridge is a short section used to bridge the gap between verse and chorus. It may only be two or four bars long and it's often used when the verse and chorus are so different from each other that a 'joining' phrase helps bring them together.
Instrumental. This is part of the song without any vocals. Yeah, okay. It's often an instrumental version of the verse or chorus, it may be an improvised variation on one of these, or it may be an entirely different tune and set of chords altogether. Sometimes it fits into a song where a vocal middle eight would otherwise go.
Breakdown/Break. This term has been high jacked from songs from the early 1900s when it was common to either to reduce the instrumentation or stop it altogether while a tap dancer would strut his stuff. The term 'break' is still sometimes used to indicate an instrumental section. 'Breakdown' is now most commonly used in dance music for the section where the percussion breaks down or is reduced, and it may be the dance equivalent of the middle eight.
Outro/Ending. Once upon a time, songs had definite endings but the mid 1950s heralded in the era of the fade-out and songwriters thought they would never have to write an ending again. However, fade-outs became such clichs to the extent that fade out meant cop out so songwriters started writing endings again. With that in mind, you can do as you wish, and considering that the endings of most songs get talked over or cut short by radio DJs and mixed over by club DJs, you have only your artistic integrity and your CD listeners to answer to. Some songs work extremely well with fade outs but listen to songs in your chosen genre to see how other writers approach endings. But whatever you do, avoid like the plague the three time tag ending.
Hook. The hook is not a song part as such; rather it's the term used to describe the part of the song that people remember and sing. It's what they buy the record for. It's usually the chorus although it need not be the entire chorus, but simply a two- or four-bar phrase. It could be an instrumental riff as in Whiter Shade of Pale or Smoke on the Water, or a processed vocal as in Cher's Believe.
All together now
Having described the parts of a song, let's see how they are commonly arranged. The most popular arrangement by far is simply verse-chorus and repeat. Here are two variations on the theme:
Intro
Verse 1
Chorus
Verse 2
Chorus
Chorus
Outro
Intro
Verse 1
Verse 2
Chorus
Verse 3
Middle eight
Chorus
Chorus
Outro
You get the picture. However, these are conventions rather than rules so you can adapt, change or ignore them as you see fit. But they have developed for a reason and that is simply to make the song as immediately appealing to the listener as possible.
Listen to some of the Stock, Aitken and Waterman hits of the 80s (it's not compulsory if you really can't bear to) and you'll see that most follow the simplest format, guaranteed to brainwash the listener with as many repeats of the hook as possible. They tend to be:
Intro (similar to the chorus)
Verse 1
Chorus
Verse 2
Middle eight
Chorus
Chorus
Outro
Notice that the hook's there straight away in the intro, there's only one verse before the chorus so you get to it quicker, and the chorus tends to repeat at the end, just to imprint the hook firmly in your mind.
There are obvious exceptions to these formats. Ambient, trance, chill-out music and the like, are obvious candidates. With these you can start at the beginning and work through to the end creating an evolving music form without any clear verse/chorus structure. Genres such as trance tend to build to a series of crescendos several times throughout the song. However, even these types of song often have a hook or two on which listeners can hang their hat.
Build ups and downs
Bearing in mind that the purpose of a song is to keep the listeners listening and not allow them to get bored, you need variety within the song. Simply strumming a guitar and singing verse/chorus/verse/chorus won't cut the mustard unless you're in a folk club. The usual method is to start with a simple arrangement and add to it as the song progresses.
So, the first verse might consist of light drums, bass and rhythm guitar. As you move into the second verse you could add strings or a synth pad. A drum fill takes you into the chorus which would include busier drums, maybe some additional percussion, a fuller string arrangement and perhaps a lead line. When you dip back to the verse, you revert to the simpler arrangement.
The middle eight is usually a lighter arrangement than the chorus and gives you the opportunity to use different instrumentation if you want to. When you hit the second chorus, add backing vocals and a lead riff. The final chorus is the culmination the song and you can add more backing vocals, more percussion and additional lead lines.
Listen to songs in the style you are writing and analyse their formats to see how far other exponents have stuck to or departed from the traditional formats. when you're familiar with the rules or conventions that they use, then you can experiment by breaking them.
There's lots more about making music plus a free book to download at www.making-music.com.
****
Ian Waugh is one of the UK's leading hi tech music writers and creator of www.making-music.com. He has written for most of the major - and not so major - hi tech music magazines in the UK and many general computing titles both offline and online.
His output numbers over 2,000 articles, features and reviews and he has written several books and albums. He is author of the "Quick Guide to..." series which includes the Quick Guide to Dance Music, Digital Audio Recording, MP3 and Digital Music, and Analogue Synthesis.
****
The song structure may not be the first thing you think about when you start writing. You probably work on the verse or chorus, or maybe you have a good riff that you want to expand into a song. So you get that down and then you start to think about the other parts - the intro, how many verses, middle eight, do you want an instrumental, the ending...
Some song genres have a fairly rigid format, others are more flexible, and you need to know where you can bend the rules and why you may not want to do so in order to make your song stand out from the others. Let's look at the sections you'll find in most songs and the part they play in song construction.
Song parts
Intro. Yes, this leads you into the song. It may be two, four or eight bars long or longer. Some songs don't have any intro at all. A pop song intro will often be reminiscent of the chorus or the hook. In a club song, it's often a good idea to have eight bars of rhythm to help the DJ to mix match your song. They say that music publishers typically only listen to the first 20 seconds of a song before deciding whether to reject it so if you're sending material to a publisher, keep the intro short and get into the song as quickly as possible. Save the 5 minute intros for the CD version.
Verse. This is the preamble to the chorus. It sets the scene, certainly lyrically, and as the verses progress they often tell a story or recount episodes from a situation although that's by no means essential. They are typically eight or sixteen bars long and melodically not usually as strong as the chorus although, again, that's by no means essential. However, it often seems as if the songwriter ran out of ideas when writing the verse. One of the strengths of The Beatles' songs is that verses and choruses are equally strong and most people could hum or sing their way through most Beatles hits. Not so with many songs where the verses are little more than fillers to get you to the chorus.
Chorus. This the bit everyone remembers, whistles and sings along to. It should be the strongest part of the song and generally is or contains the hook. It's usually eight or sixteen bars long.
Middle eight. As a song progresses, there's a danger of boredom setting for the listener. The middle eight offers them a break and typically comes after a couple of verses and choruses. Some people think of it as an alternative verse and that's one way to look at it. It often modulates to a different key or introduces a new chord progression and it usually doesn't include the song title. However, all too often it's simply an excuse for waffling on for a few bars. Although it's called the middle eight it could be four or sixteen bars long.
Bridge. Many people use the terms 'middle eight' and 'bridge' synonymously and so popular is this usage that it would be churlish to disagree. However, among those who prefer to note the difference, a bridge is a short section used to bridge the gap between verse and chorus. It may only be two or four bars long and it's often used when the verse and chorus are so different from each other that a 'joining' phrase helps bring them together.
Instrumental. This is part of the song without any vocals. Yeah, okay. It's often an instrumental version of the verse or chorus, it may be an improvised variation on one of these, or it may be an entirely different tune and set of chords altogether. Sometimes it fits into a song where a vocal middle eight would otherwise go.
Breakdown/Break. This term has been high jacked from songs from the early 1900s when it was common to either to reduce the instrumentation or stop it altogether while a tap dancer would strut his stuff. The term 'break' is still sometimes used to indicate an instrumental section. 'Breakdown' is now most commonly used in dance music for the section where the percussion breaks down or is reduced, and it may be the dance equivalent of the middle eight.
Outro/Ending. Once upon a time, songs had definite endings but the mid 1950s heralded in the era of the fade-out and songwriters thought they would never have to write an ending again. However, fade-outs became such clichs to the extent that fade out meant cop out so songwriters started writing endings again. With that in mind, you can do as you wish, and considering that the endings of most songs get talked over or cut short by radio DJs and mixed over by club DJs, you have only your artistic integrity and your CD listeners to answer to. Some songs work extremely well with fade outs but listen to songs in your chosen genre to see how other writers approach endings. But whatever you do, avoid like the plague the three time tag ending.
Hook. The hook is not a song part as such; rather it's the term used to describe the part of the song that people remember and sing. It's what they buy the record for. It's usually the chorus although it need not be the entire chorus, but simply a two- or four-bar phrase. It could be an instrumental riff as in Whiter Shade of Pale or Smoke on the Water, or a processed vocal as in Cher's Believe.
All together now
Having described the parts of a song, let's see how they are commonly arranged. The most popular arrangement by far is simply verse-chorus and repeat. Here are two variations on the theme:
Intro
Verse 1
Chorus
Verse 2
Chorus
Chorus
Outro
Intro
Verse 1
Verse 2
Chorus
Verse 3
Middle eight
Chorus
Chorus
Outro
You get the picture. However, these are conventions rather than rules so you can adapt, change or ignore them as you see fit. But they have developed for a reason and that is simply to make the song as immediately appealing to the listener as possible.
Listen to some of the Stock, Aitken and Waterman hits of the 80s (it's not compulsory if you really can't bear to) and you'll see that most follow the simplest format, guaranteed to brainwash the listener with as many repeats of the hook as possible. They tend to be:
Intro (similar to the chorus)
Verse 1
Chorus
Verse 2
Middle eight
Chorus
Chorus
Outro
Notice that the hook's there straight away in the intro, there's only one verse before the chorus so you get to it quicker, and the chorus tends to repeat at the end, just to imprint the hook firmly in your mind.
There are obvious exceptions to these formats. Ambient, trance, chill-out music and the like, are obvious candidates. With these you can start at the beginning and work through to the end creating an evolving music form without any clear verse/chorus structure. Genres such as trance tend to build to a series of crescendos several times throughout the song. However, even these types of song often have a hook or two on which listeners can hang their hat.
Build ups and downs
Bearing in mind that the purpose of a song is to keep the listeners listening and not allow them to get bored, you need variety within the song. Simply strumming a guitar and singing verse/chorus/verse/chorus won't cut the mustard unless you're in a folk club. The usual method is to start with a simple arrangement and add to it as the song progresses.
So, the first verse might consist of light drums, bass and rhythm guitar. As you move into the second verse you could add strings or a synth pad. A drum fill takes you into the chorus which would include busier drums, maybe some additional percussion, a fuller string arrangement and perhaps a lead line. When you dip back to the verse, you revert to the simpler arrangement.
The middle eight is usually a lighter arrangement than the chorus and gives you the opportunity to use different instrumentation if you want to. When you hit the second chorus, add backing vocals and a lead riff. The final chorus is the culmination the song and you can add more backing vocals, more percussion and additional lead lines.
Listen to songs in the style you are writing and analyse their formats to see how far other exponents have stuck to or departed from the traditional formats. when you're familiar with the rules or conventions that they use, then you can experiment by breaking them.
There's lots more about making music plus a free book to download at www.making-music.com.
****
Ian Waugh is one of the UK's leading hi tech music writers and creator of www.making-music.com. He has written for most of the major - and not so major - hi tech music magazines in the UK and many general computing titles both offline and online.
His output numbers over 2,000 articles, features and reviews and he has written several books and albums. He is author of the "Quick Guide to..." series which includes the Quick Guide to Dance Music, Digital Audio Recording, MP3 and Digital Music, and Analogue Synthesis.
****
Creating The Perfect Structure For Your Song
You know what they say about rules? Actually they say lots of things about rules but here's two - rules were made to be broken, and you have to know what the rules are before you can break them. While Judge Dredd may not agree with the first, the second is certainly true and nevermore so than in writing a song.
The song structure may not be the first thing you think about when you start writing. You probably work on the verse or chorus, or maybe you have a good riff that you want to expand into a song. So you get that down and then you start to think about the other parts - the intro, how many verses, middle eight, do you want an instrumental, the ending...
Some song genres have a fairly rigid format, others are more flexible, and you need to know where you can bend the rules and why you may not want to do so in order to make your song stand out from the others. Let's look at the sections you'll find in most songs and the part they play in song construction.
Song parts
Intro. Yes, this leads you into the song. It may be two, four or eight bars long or longer. Some songs don't have any intro at all. A pop song intro will often be reminiscent of the chorus or the hook. In a club song, it's often a good idea to have eight bars of rhythm to help the DJ to mix match your song. They say that music publishers typically only listen to the first 20 seconds of a song before deciding whether to reject it so if you're sending material to a publisher, keep the intro short and get into the song as quickly as possible. Save the 5 minute intros for the CD version.
Verse. This is the preamble to the chorus. It sets the scene, certainly lyrically, and as the verses progress they often tell a story or recount episodes from a situation although that's by no means essential. They are typically eight or sixteen bars long and melodically not usually as strong as the chorus although, again, that's by no means essential. However, it often seems as if the songwriter ran out of ideas when writing the verse. One of the strengths of The Beatles' songs is that verses and choruses are equally strong and most people could hum or sing their way through most Beatles hits. Not so with many songs where the verses are little more than fillers to get you to the chorus.
Chorus. This the bit everyone remembers, whistles and sings along to. It should be the strongest part of the song and generally is or contains the hook. It's usually eight or sixteen bars long.
Middle eight. As a song progresses, there's a danger of boredom setting for the listener. The middle eight offers them a break and typically comes after a couple of verses and choruses. Some people think of it as an alternative verse and that's one way to look at it. It often modulates to a different key or introduces a new chord progression and it usually doesn't include the song title. However, all too often it's simply an excuse for waffling on for a few bars. Although it's called the middle eight it could be four or sixteen bars long.
Bridge. Many people use the terms 'middle eight' and 'bridge' synonymously and so popular is this usage that it would be churlish to disagree. However, among those who prefer to note the difference, a bridge is a short section used to bridge the gap between verse and chorus. It may only be two or four bars long and it's often used when the verse and chorus are so different from each other that a 'joining' phrase helps bring them together.
Instrumental. This is part of the song without any vocals. Yeah, okay. It's often an instrumental version of the verse or chorus, it may be an improvised variation on one of these, or it may be an entirely different tune and set of chords altogether. Sometimes it fits into a song where a vocal middle eight would otherwise go.
Breakdown/Break. This term has been high jacked from songs from the early 1900s when it was common to either to reduce the instrumentation or stop it altogether while a tap dancer would strut his stuff. The term 'break' is still sometimes used to indicate an instrumental section. 'Breakdown' is now most commonly used in dance music for the section where the percussion breaks down or is reduced, and it may be the dance equivalent of the middle eight.
Outro/Ending. Once upon a time, songs had definite endings but the mid 1950s heralded in the era of the fade-out and songwriters thought they would never have to write an ending again. However, fade-outs became such clichs to the extent that fade out meant cop out so songwriters started writing endings again. With that in mind, you can do as you wish, and considering that the endings of most songs get talked over or cut short by radio DJs and mixed over by club DJs, you have only your artistic integrity and your CD listeners to answer to. Some songs work extremely well with fade outs but listen to songs in your chosen genre to see how other writers approach endings. But whatever you do, avoid like the plague the three time tag ending.
Hook. The hook is not a song part as such; rather it's the term used to describe the part of the song that people remember and sing. It's what they buy the record for. It's usually the chorus although it need not be the entire chorus, but simply a two- or four-bar phrase. It could be an instrumental riff as in Whiter Shade of Pale or Smoke on the Water, or a processed vocal as in Cher's Believe.
All together now
Having described the parts of a song, let's see how they are commonly arranged. The most popular arrangement by far is simply verse-chorus and repeat. Here are two variations on the theme:
Intro
Verse 1
Chorus
Verse 2
Chorus
Chorus
Outro
Intro
Verse 1
Verse 2
Chorus
Verse 3
Middle eight
Chorus
Chorus
Outro
You get the picture. However, these are conventions rather than rules so you can adapt, change or ignore them as you see fit. But they have developed for a reason and that is simply to make the song as immediately appealing to the listener as possible.
Listen to some of the Stock, Aitken and Waterman hits of the 80s (it's not compulsory if you really can't bear to) and you'll see that most follow the simplest format, guaranteed to brainwash the listener with as many repeats of the hook as possible. They tend to be:
Intro (similar to the chorus)
Verse 1
Chorus
Verse 2
Middle eight
Chorus
Chorus
Outro
Notice that the hook's there straight away in the intro, there's only one verse before the chorus so you get to it quicker, and the chorus tends to repeat at the end, just to imprint the hook firmly in your mind.
There are obvious exceptions to these formats. Ambient, trance, chill-out music and the like, are obvious candidates. With these you can start at the beginning and work through to the end creating an evolving music form without any clear verse/chorus structure. Genres such as trance tend to build to a series of crescendos several times throughout the song. However, even these types of song often have a hook or two on which listeners can hang their hat.
Build ups and downs
Bearing in mind that the purpose of a song is to keep the listeners listening and not allow them to get bored, you need variety within the song. Simply strumming a guitar and singing verse/chorus/verse/chorus won't cut the mustard unless you're in a folk club. The usual method is to start with a simple arrangement and add to it as the song progresses.
So, the first verse might consist of light drums, bass and rhythm guitar. As you move into the second verse you could add strings or a synth pad. A drum fill takes you into the chorus which would include busier drums, maybe some additional percussion, a fuller string arrangement and perhaps a lead line. When you dip back to the verse, you revert to the simpler arrangement.
The middle eight is usually a lighter arrangement than the chorus and gives you the opportunity to use different instrumentation if you want to. When you hit the second chorus, add backing vocals and a lead riff. The final chorus is the culmination the song and you can add more backing vocals, more percussion and additional lead lines.
Listen to songs in the style you are writing and analyse their formats to see how far other exponents have stuck to or departed from the traditional formats. when you're familiar with the rules or conventions that they use, then you can experiment by breaking them.
There's lots more about making music plus a free book to download at www.making-music.com.
****
Ian Waugh is one of the UK's leading hi tech music writers and creator of www.making-music.com. He has written for most of the major - and not so major - hi tech music magazines in the UK and many general computing titles both offline and online.
His output numbers over 2,000 articles, features and reviews and he has written several books and albums. He is author of the "Quick Guide to..." series which includes the Quick Guide to Dance Music, Digital Audio Recording, MP3 and Digital Music, and Analogue Synthesis.
****
The song structure may not be the first thing you think about when you start writing. You probably work on the verse or chorus, or maybe you have a good riff that you want to expand into a song. So you get that down and then you start to think about the other parts - the intro, how many verses, middle eight, do you want an instrumental, the ending...
Some song genres have a fairly rigid format, others are more flexible, and you need to know where you can bend the rules and why you may not want to do so in order to make your song stand out from the others. Let's look at the sections you'll find in most songs and the part they play in song construction.
Song parts
Intro. Yes, this leads you into the song. It may be two, four or eight bars long or longer. Some songs don't have any intro at all. A pop song intro will often be reminiscent of the chorus or the hook. In a club song, it's often a good idea to have eight bars of rhythm to help the DJ to mix match your song. They say that music publishers typically only listen to the first 20 seconds of a song before deciding whether to reject it so if you're sending material to a publisher, keep the intro short and get into the song as quickly as possible. Save the 5 minute intros for the CD version.
Verse. This is the preamble to the chorus. It sets the scene, certainly lyrically, and as the verses progress they often tell a story or recount episodes from a situation although that's by no means essential. They are typically eight or sixteen bars long and melodically not usually as strong as the chorus although, again, that's by no means essential. However, it often seems as if the songwriter ran out of ideas when writing the verse. One of the strengths of The Beatles' songs is that verses and choruses are equally strong and most people could hum or sing their way through most Beatles hits. Not so with many songs where the verses are little more than fillers to get you to the chorus.
Chorus. This the bit everyone remembers, whistles and sings along to. It should be the strongest part of the song and generally is or contains the hook. It's usually eight or sixteen bars long.
Middle eight. As a song progresses, there's a danger of boredom setting for the listener. The middle eight offers them a break and typically comes after a couple of verses and choruses. Some people think of it as an alternative verse and that's one way to look at it. It often modulates to a different key or introduces a new chord progression and it usually doesn't include the song title. However, all too often it's simply an excuse for waffling on for a few bars. Although it's called the middle eight it could be four or sixteen bars long.
Bridge. Many people use the terms 'middle eight' and 'bridge' synonymously and so popular is this usage that it would be churlish to disagree. However, among those who prefer to note the difference, a bridge is a short section used to bridge the gap between verse and chorus. It may only be two or four bars long and it's often used when the verse and chorus are so different from each other that a 'joining' phrase helps bring them together.
Instrumental. This is part of the song without any vocals. Yeah, okay. It's often an instrumental version of the verse or chorus, it may be an improvised variation on one of these, or it may be an entirely different tune and set of chords altogether. Sometimes it fits into a song where a vocal middle eight would otherwise go.
Breakdown/Break. This term has been high jacked from songs from the early 1900s when it was common to either to reduce the instrumentation or stop it altogether while a tap dancer would strut his stuff. The term 'break' is still sometimes used to indicate an instrumental section. 'Breakdown' is now most commonly used in dance music for the section where the percussion breaks down or is reduced, and it may be the dance equivalent of the middle eight.
Outro/Ending. Once upon a time, songs had definite endings but the mid 1950s heralded in the era of the fade-out and songwriters thought they would never have to write an ending again. However, fade-outs became such clichs to the extent that fade out meant cop out so songwriters started writing endings again. With that in mind, you can do as you wish, and considering that the endings of most songs get talked over or cut short by radio DJs and mixed over by club DJs, you have only your artistic integrity and your CD listeners to answer to. Some songs work extremely well with fade outs but listen to songs in your chosen genre to see how other writers approach endings. But whatever you do, avoid like the plague the three time tag ending.
Hook. The hook is not a song part as such; rather it's the term used to describe the part of the song that people remember and sing. It's what they buy the record for. It's usually the chorus although it need not be the entire chorus, but simply a two- or four-bar phrase. It could be an instrumental riff as in Whiter Shade of Pale or Smoke on the Water, or a processed vocal as in Cher's Believe.
All together now
Having described the parts of a song, let's see how they are commonly arranged. The most popular arrangement by far is simply verse-chorus and repeat. Here are two variations on the theme:
Intro
Verse 1
Chorus
Verse 2
Chorus
Chorus
Outro
Intro
Verse 1
Verse 2
Chorus
Verse 3
Middle eight
Chorus
Chorus
Outro
You get the picture. However, these are conventions rather than rules so you can adapt, change or ignore them as you see fit. But they have developed for a reason and that is simply to make the song as immediately appealing to the listener as possible.
Listen to some of the Stock, Aitken and Waterman hits of the 80s (it's not compulsory if you really can't bear to) and you'll see that most follow the simplest format, guaranteed to brainwash the listener with as many repeats of the hook as possible. They tend to be:
Intro (similar to the chorus)
Verse 1
Chorus
Verse 2
Middle eight
Chorus
Chorus
Outro
Notice that the hook's there straight away in the intro, there's only one verse before the chorus so you get to it quicker, and the chorus tends to repeat at the end, just to imprint the hook firmly in your mind.
There are obvious exceptions to these formats. Ambient, trance, chill-out music and the like, are obvious candidates. With these you can start at the beginning and work through to the end creating an evolving music form without any clear verse/chorus structure. Genres such as trance tend to build to a series of crescendos several times throughout the song. However, even these types of song often have a hook or two on which listeners can hang their hat.
Build ups and downs
Bearing in mind that the purpose of a song is to keep the listeners listening and not allow them to get bored, you need variety within the song. Simply strumming a guitar and singing verse/chorus/verse/chorus won't cut the mustard unless you're in a folk club. The usual method is to start with a simple arrangement and add to it as the song progresses.
So, the first verse might consist of light drums, bass and rhythm guitar. As you move into the second verse you could add strings or a synth pad. A drum fill takes you into the chorus which would include busier drums, maybe some additional percussion, a fuller string arrangement and perhaps a lead line. When you dip back to the verse, you revert to the simpler arrangement.
The middle eight is usually a lighter arrangement than the chorus and gives you the opportunity to use different instrumentation if you want to. When you hit the second chorus, add backing vocals and a lead riff. The final chorus is the culmination the song and you can add more backing vocals, more percussion and additional lead lines.
Listen to songs in the style you are writing and analyse their formats to see how far other exponents have stuck to or departed from the traditional formats. when you're familiar with the rules or conventions that they use, then you can experiment by breaking them.
There's lots more about making music plus a free book to download at www.making-music.com.
****
Ian Waugh is one of the UK's leading hi tech music writers and creator of www.making-music.com. He has written for most of the major - and not so major - hi tech music magazines in the UK and many general computing titles both offline and online.
His output numbers over 2,000 articles, features and reviews and he has written several books and albums. He is author of the "Quick Guide to..." series which includes the Quick Guide to Dance Music, Digital Audio Recording, MP3 and Digital Music, and Analogue Synthesis.
****
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