Hip hop old school rappers

Now that you’ve got a nice, loud vocal sitting right up in your face, it’s time to add a little space with reverb and delay. Stereo effects are great for creating width, while mono effects work better for pushing the vocal back in the mix and adding depth.

One of my personal favorites in the digital distortion category is the Digitech Hot Rod. It’s cheap enough to try out in your shoegaze setup, and has settings to make your sound both very thin, scratchy ,and dirty, as well as fat and warm. Scott Cortez of the lo-fi shoegaze band Astrobrite uses one. And so I do…

Read moreHip hop old school rappers

Donate guitars to schools

You need to select your sample group of critics very carefully. Ask honest opinions of people who you believe to have a decent understanding of music and who are passionate about the genres you’re exploring. This way, you can avoid irrelevant opinions that won’t serve you.

And Jesus was a sailor 

Read moreDonate guitars to schools

Hip hop music investors

Christine Elise Occhino is a serial entrepreneur with a passion for the music business. In addition to being a vocalist herself, she is the CEO of Elise Music Group, Artistic Director of The Pop Music Academy, and owner of Stamford Recording Studio. She is also the proud Founder and Executive Director of Hope in Harmony, a 501(c)(3) nonprofit organization that uses music to help and heal those in need. Christine is a member of the Grammy Recording Academy, the American Society of Composers, Authors, & Publishers, and the Berklee College of Music Alumni Association. She has spoken on many music industry panels, contributed writing for music business publications for over a decade, and currently hosts the music-based web series and podcast, Soundbytez.

Solution: Create criteria. One of the biggest mistakes ambitious musicians make is overbooking just for the sake of playing out. I constantly hear colleagues complaining about gigs their bandleaders probably shouldn’t have taken in the first place. A band member once made me promise I would only take gigs if I could answer “yes” to at least two of these questions: (1) Is it lucrative enough to ensure that no band member is losing money (including the pay they would sacrifice if they had to turn down another show because of this one)? (2) Will it give us real exposure or positively build the band’s identity? (3) Could it be the most fun we’ve had all year?

Read moreHip hop music investors