Eddie Van Halen is famous for his tapping technique, but he wasn’t the first to do it. In fact, hundreds of years before “Eruption,” Niccolò Paganini (1782 – 1840) used a similar technique on his violin. Jazz guitarists in the 50s and 60s did it, and Italian musician, Victorio Camadese, tapped extensively on his classical. Van Halen changed the game by applying it to distorted, electric guitar.
Skrillex is often called the inventor of dubstep, but the genre originated in London in the 90s. Although the style drastically changed later, the characteristic sounds of wobble bass, subs, syncopated rhythms, and drops all pre-date Skrillex. Skrillex’s flavor of dubstep (sometimes refered to as brostep) favors mid-range frequencies and aggressive rhythms. This was hugely popular in 2011 and Skrillex’s interpretation of dubstep soon became the standard.
YouTuber, Andrew Huang, is known for found sound sampling. He records sounds from random objects, processes them in his computer, and uses them to compose music. He’s made songs from pineapples, Legos, radiators, candy, and lights bulbs. As you’ve probably guessed, he wasn’t the first to do this.* What made Andrew special was the sheer amount of sampling he did and the absurdity of challenges (my favorite is carrots).
Facebook came after Myspace, the iPhone wasn’t the first smartphone, and Spotify wasn’t the first streaming service. We get so hung up on the idea that we need to be innovators but the truth is that most of our ideas are not original, and that’s okay. Working is 95% of it. Don’t think you need to change the game to win at it. Sometimes putting your own spin on a great idea is all that’s needed.
*I couldn’t find who originated the technique, but I remember seeing it on videos before Andrew Huang’s time.
A few years back, I had a ton of musical ideas floating around my head. I wanted to write it all: hip-hop, EDM, singer-songwriter, lo-fi, dubstep. I wanted to release albums in every genre I loved, multiple albums. I wanted to be as prolific as Andrew Huang and Steve Aoki. Songs for days.
This, of course, takes a lot of work, and I used to be pretty ADHD when it came to writing. I’d finish a singer-songwriter track one day and be working on a house song the next. I’d think, “I’m so versatile!” Before that next song was finished, I’d be messing around on another beat, and after that a third one. Eventually, none of these got finished and I’d start something else.
It’s pretty easy to get side-tracked if you don’t have a focus. I’ve found it helps to have a goal. For instance, over the Summer I made “Lo-Fi July.” During the month of July, I had to write three lo-fi songs. Having this clear objective helped me focus my time and actually get it done. For the next month, I had a new genre to write in.
Whenever I was writing and came up with something cool that wasn’t in the genre, I would shelf it for later. It did wonders for my productivity.
It’s great to be prolific, to write a lot and make a lot. Just don’t fall into the trap of being a kid in the candy store when it comes to writing. There’s a lot of great sounds, ideas, and styles to pick from, but don’t jump around so much that nothing gets done. Be disciplined enough to finish. One completed song will teach you more than 10 unfinished beats.
I recently read Show Your Work! by Austin Kleon. Austin is a writer who uses drawings, photos, and blackout poetry to illustrate his points. Each chapter is a lesson on self-promotion. Not only are the tips good, but it’s stuffed with helpful images. I recommend it for creatives with no idea what to do after hitting “Publish.”
My big take away is the importance of community and relationships. The obvious but not so obvious fact is that we’re dealing with people when we sell, individuals with interests and passions. How we relate to our audience is very important.
I don’t usually post to social media, but when I do it’s to promote something. Other than that, I’m silent. I used to be proud of that fact. Kleon, on the other hand, recommends sending out a “daily dispatch” (47). Share your rough drafts, your current inspirations, what music you’re listening to, and what you’re working on. Documenting your creative process allows followers to have “an ongoing connection with us and our work” (38). He talks a lot about connecting with your audience, telling good stories, and being part of a community.
There’s a chapter called Teach What You Know. “The minute you learn something, turn around and teach it to others” (117). This ties into documenting your process: share your secrets and fans feel closer to what you do. Another plus, they will want to pass on what they know as well. I’ve heard of this “teaching as you learn” principle before, and it’s one of the reasons I started my blog.
This is a coffee table book: short, fun, and insightful. There are a lot of great lessons and it’s a very easy read. I’ve shared only a few here, but if you’re a note-taker like me, you’ll constantly be jotting down ideas as you read.
I’m not the best guitar player, the best songwriter, or the best anything, really. This is hardly news, but I bring it up because in the arts there’s a lot of sizing up that goes on. People get their sense of self worth in how they compare to others and music is no exception. Whether it’s shredding ability, writing chops, or local clout, we’re always comparing ourselves to our peers.
When I was at McNally Smith College of Music, I quickly realized how many guitar players are better than me. Around this time, I started singing my songs for people. You could get away with simple guitar parts if you sang, and although I couldn’t sing well enough to be a singer, I could sing well enough to be a singer-songwriter. I could write and perform my own stuff and no one would think I was faking it. This was perfect because at the time I just wanted to see if I could cut it as a music major. As a guitarist, I could not. As a singer, I definitely could not. As a singer-songwriter, sure.
All too often, we quit because we think we aren’t good enough. We see guys who have been practicing five hours a day since they were three and think, “Whoa, I could never do that.” And while it’s true that if you strive for that level of musicianship, you do need to practice five hours a day, that level of dedication isn’t for everyone. For myself, I never wanted to be a virtuoso; I wanted to write songs that meant something. What I found at McNally Smith is that I didn’t need to be the best; I had to be my best. What that means is different for everyone, but articulating what you want is the first step. If you’re not sure what that is, pick something and run with it. Action is at the heart of discernment.
Whatever kind of music you make, you’ll be tempted to compare yourself to others, but art isn’t a competition. Nobody listens to music because they want to hear the best in the world (unless they Googled them for that explicit reason); we listen to music because we enjoy it and feel connected to it. Keep moving forward, and don’t be afraid to share your art.