October 30th, 2008
Chopin used them extensively. So did Beethoven and Mozart. Arpeggios are beautiful and are perfect for the New Age piano style too!
You can hear them in George Winston’s music. David Lanz uses them in many of his compositions, and of course, I use them as well. Why? Because the piano is well suited for this technique!
The left-hand is used mostly to create this cascading flow of notes. For example, in the lesson “Wood Thrush” we use over 2 octaves of the keyboard. This creates a very nice background over which we can improvise (or compose) our melodies.
Because the New Age piano style focuses a lot on improvisation, the arpeggio is an excellent vehicle to use. We pick a Key to play in, choose a few chords from that Key, then create an arpeggio with them.
What gives many students problems with this technique is the crossing over part where the left hand does its main work. But once this technique is mastered, the rest is easy.
Then, you simply practice playing the arpeggio until you can improvise a melody in your right hand. You go slowly and smoothly at first; not rushing but taking your time. The rewards are great because the sound that is created by using arpeggios is full, rich, and very appealing to the ear!
Edward Weiss is a pianist/composer and webmaster of Quiescence Music’s online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at http://www.quiescencemusic.com/piano_lessons.html for a FREE piano lesson!
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October 30th, 2008
There are many things to consider when buying a new classical guitar. For instance, whether or not you are a beginner or seasoned professional will determine just what you are looking for and how much you are willing to spend.
If you’re a beginner to intermediate player there are many excellent online dealers that carry a good range of brands at reasonable prices. I’ve recently added a Guitar Store page on my website which carries merchandise from Musiciansfriend.com which I’m very happy with.
These online stores “live and die” by their reputation and so can’t afford to have mediocre instruments or service. As we all know, news travels very fast on the web and they’d soon be out of business if they tried to “pull a swifty” on anyone.
You can pretty much trust that their instruments will be good and you can view pictures of them online so don’t be afraid of buying a guitar online if you’re looking for that sort of convenience.
If your heart is set on going to a “bricks & mortar” store to seek out an instrument, actually getting it in your hands to get the feel, then there are a few things you should know before you go.
The most important thing is of course the sound of the instrument. Is it a sound that you are happy with and feel comfortable about.
The different types of wood that classical guitars are made from will give each instrument its own peculiar sound but in general, guitars with cedar tops produce a more “warm’ tone whereas spruce tops are likely to be more “focused” or ‘concentrated”.
I’ve been asked in the past to accompany parents of some of my students to help in the purchase of a guitar. If the instrument is new then these things aren’t so important but I still check them anyway.
So, one of the first things I always do is check along the neck of the instrument by looking down from the nut to the end of the instrument. That is, I physically pick up the guitar and hold it out from my body so that the headstock is pointing towards me. Then I look along the length of the neck to see if it is straight. There should be NO bowing of the neck at all.
I also look behind the bridge of the instrument to see if any area of the top is buckled or bowed. I would strongly advise anyone NOT to buy an instrument that was showing any signs of these defects. It’s just not worth it in the end.
The third thing I do is to hold down the strings from the second fret to the twelfth fret and see if the string length touches all the intervening frets. There will be a problem with craftsmanship if you have any significant variation here.
I then check the sound of the instrument to see if it has the qualities that I’m after. They are: projection; quality of tone and; comfort i.e. is it the right size for me or whoever we’re buying the instrument for.
Children, especially younger ones, will obviously need a smaller guitar than adults and it depends on the size of the student. Classical guitars usually come in half, three-quarter, five-eighth and full size.
If you’ve covered all these areas you’ll usually come away with a decent guitar that will last you many years of happy playing.
If you’re a more advanced player or have the money and inclination to buy something a little better, you know, that DREAM guitar, then you’ll have to invest a little more time, money and testing to achieve it.
Sharon Isbin, writing in the Classical Guitar Answer Book , suggests these areas when purchasing that “dream guitar”: Beauty of Tone; Dynamic & Timbral Contrasts; Clarity & Speed of Response; Sustain; Balance; Resonance; Intonation; Projection; Condition.
Phew! Talk about attention to detail! But if you’re after an instrument of quality and it’s worth the money then it’s worth the time and effort to research.
I hope this has been of help in purchasing an instrument.
Trevor Maurice is an Australian, living in beautiful seaside Maroubra, in the eastern suburbs of Sydney.
He’s been involved in playing guitar (mainly classical) for longer than he cares to remember and has also taught the instrument for many years. He is teacher trained, having a Diploma of Education (Majoring in music)
He has also taught Primary (Elementary) school for many years and had a long-held dream to build a quality website for the classical guitar that is of use to anyone even slightly interested in this beautiful instrument. He has now made that dream a reality with the highly rated…
http://www.learnclassicalguitar.com/index.html
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October 29th, 2008
Why is it easy to compose piano music?
Because you have to start from where you are. This should be fairly easy; Otherwise you have not started from where you are.
A suggestion is to start writing piano pieces for beginners in a progressive order. The idea is that as the pieces get more complicated for the player they will also become more complicated for you to notate and compose and you will subsequently learn as you write.
How is composing beneficial for your piano playing?
1. Your compositional endeavours will make you more and more aware of intrinsic musical subtleties in the music of other composers. When you start to think and feel like a composer you will also become a better performer as well. Performing is also a creative process similar to composing.
2. When you compose you will become a better sight reader.
I remember an assignment I had many years ago when I wrote the music to a musical. It made me aware of many notational problems I had not taken the time to solve for myself before.
When I started to play my piano music again I was astonished when realizing it was much easier for me to sight read complicated piano sheet music. The reason for this I concluded was my concentrated effort to notate my own piano music.
The process to play something with my fingers and and then try to notate the music on manuscript paper was so to speak a reversed sight reading exercise.
What about manuscript paper?
You can use a notation program or you can write on paper or use both approaches. I suggest that you start writing on paper the way that composers have done for centuries.
Composing piano sheet music by hand on manuscript paper is a cheap and effective exercise to learn the various sheet music symbols.
Very often I jot down musical ideas on ordinary white paper after drawing five lines by hand. It works fine if you can’t find your manuscript paper. You can buy manuscript paper for sheet music or print out your favorite format for free on the site http://www.blanksheetmusic.net
In conclusion, composing piano sheet music can become a natural part of your daily practice routine.
Spend half an hour a day composing your own piano sheet music and you will increase your musical knowledge and become an even better musician!
And remember; Composing piano sheet music is fun!
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October 27th, 2008
 Travelling for pleasure or business: an environment simple and nice, service of quality of all sorts of comforts. The Hotel Faraone is situated in a position extremely quietly protected by city caos but and the same time not too far from all places of interest of Naples.
The Hotel is in Cercola, little village near of Vesuvio, at about ten minutes from the centre of Naples and near to the main communications roads.
The Hotel Faraone is in the best position to reach the main historic sites of interest like, Ercolano, Pompei or to reach the Costiera Amalfitana and Sorrentina.
Rooms:
The twenty bedrooms have recently been renewed. Fool comfort, elegant and functional furniture are the ideal place to relax after a day touring around the town or after a stressing day of work. The bedrooms provided the opportunity of been simple, double or triple accommodations and air-conditioned, direct telephone, frigo-bar, Tv, private-bath.
The Junior suites wide and elegant enjoy a wonderful view of Vesuvio and of the city of Naples. The Suite of Faraone Hotel is also furnishing with big bedrooms and idro massage bath and all comforts.
The restaurant, open also to the outside people, is a very nice and elegant hall where the client can test local dishes of the Italian gastronomic traditions and naturally the famous Neapolitan pizza.
Services:
Every morning our visitors could profit in abundant continental breakfast buffet stile and the bar always opened for serving café, tee, cappuccino etc… Of course the breakfast could be served also in their own bedrooms.
We are also equipped with internet point, while the organization provides programs for touring, excursions, services for air or railway tickets.
The bar is opened for all sorts of drinks.
Internal parking (for buses) for the cars is free.
Restaurant and Pizzeria
Internet point
Fax services and photocopies
Taxi service to the terminals (airport, railway, city centre) whit booking
Bar open twenty four hours
Safe is available at the reception
Reception open twenty four hours
Laundry available
Other than Hotel Faraone, you can browse our offers for cheap hotel in Cercola, pls visit our catalogue of Hotels all over Italy, where you can find also a wide range of Bed and Breakfast in Rome and Hotels in Florence, from cheap to luxury, togheter with Hotels in Sicily
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October 24th, 2008
I’ve worked with a few clients this August as most are on holiday, but one concept which I feel keeps showing up is that of fear.
Fear is our way of slowing down the progress we’re making and sometimes this can be a good thing. Certainly, a healthy amount of fear can keep us safer, more secure, and can keep us from taking rash action.
However, there are times when fear also acts to keep us small to keep us from stepping fully into our own greatness and truly owning our life and the success we create in it.
What are some cues that fear is keeping you small? First,you have a persistent dream that you never seem to quite reach. You keep coming close but never quite get there. You feel frustrated and upset about this.
Second, your dream or goal matters - a lot - and you don’t feel you can give up on it (even though so far haven’t found a way to attain it).
Third, you feel some discomfort or uncertainty about the consequences of your own success. You aren’t sure if you can handle the extra attention, extra demands or extra responsibility that being successful will bring you.
Maybe its none of that and you just feel scared in picking up the phone or going to talk to promoters, venue managers and people who can give you many gigs.
So what shall you do if you notice the fear in the way?
Here are some options:
1) Get support. Join with a friend, colleague, or team to help you reach your goal. Hiring a coach could be your best bet!
2) Use the smallest unit to get going. Find the smallest action you can take and then take it.
3) Work on it regularly. Once a day or a week, spend at least 15-20 minutes acting on your dream or goal.
4) Be inspired. Surround yourself with information about people who achieved what you desire.
5) Feel the fear but don’t let it stop you. When you find the fear is pulling you back, talk yourself through it. Recognize that the fear has the right to speak, but that you don’t necessarily have to listen.
Remember, you want what you want precisely because it is possible for you to have it.
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October 24th, 2008
A lot of recording studios are popping up as the price of high quality recording gear gets cheaper and cheaper. While many guys know they want to record other bands and would like to even get paid for it, many are not sure how to get started.
I remember back when I decided I was ready to start recording bands. I went to a local “metalfest”, setup a table, told everyone I charged $20 an hour, and nothing happened. I mean NOTHING happened. It was a total waste of time. So I went back to the drawing board and had to rethink my strategy.
I’m a firm believer that you must give someone something if you want something in return. Take the approach of your potential customers. “What’s in it for me?”. Well, in the case of me with the brand new studio in my house, I had a few problems. My demo I was handing out simply wasn’t that good. It was about the typical quality of a local studio at that time. Most bands didn’t feel comfortable working with a guy for $20 an hour who they didn’t even know and had never heard of.
I decided that I would do an album for free. Actually, at that time, I had not done an album. Just little 3 song this and 4 song thats. I found that recording a 10-12 song cd was quite a bit more work than I had imagined. Either way, I went to a few local shows to scout out the band that I wanted to offer free recording too. Eventually, I found the band. They had pro gear and sounded good live. They had a decent crowd and I thought they would make a great candidate. I approached them after the show to do a few record. I got them to go for it. Most bands won’t turn down free recording.
I busted my tale on the project, and in the end it sounded pretty decent. It was better than most the local productions, but nothing to be too excited about it. It was enough for the my new friends in the band to tell more of their friends. Since they were a gigging band, other bands would ask where they recorded. Other bands were excited that I didn’t force electronic drums onto their record. That in itself was actually a selling point.
It wasn’t long after finishing the first project that I can I did another free record. Once again, it was a gigging local band. I did that project for free too. It turned out to be a decent sounding recording in the end. I was very pleased at the time. I kept improving. It turned out that I did about 5 records for free. This took me a lot of work and a lot of time. I was just happy to have real bands to record.
At that time a local music forum exploded. After recording 5 or so records I knew a number of bands. I hit the forum very hard. I was the leading poster for a long time. I posted each and every day on every post that I had any business posting. I had my recording studio’s website up the whole time and always offered samples of my work.
I emailed a number of bands and told them that I had recorded this band and that band. Soon, I found myself charging an enormous $50 per day. It certainly wasn’t great money, but it was a start. I recorded more and more bands to gain experience. Every time I finished a project, I would invite all the guys on the local forum to visit my site and download it. I got better and better and better.
I became overbooked and overworked, so I raised my prices to $100 per day. By this time, just about everyone in the local band world knew who I was. From that point I didn’t have to do much marketing. It sort of took care of itself.
Now, I’m pushing it the next step. I grabbed the band with the best singer in town. It just so happens that everyone in his band could play as well. They had experience making serious money as a band. I knew it was worth my time to put something great into their project.
Once again, I find myself recording for free, sort of. I’m working on spec. That means that they owe me some money. If the record sells well, I get a nice paycheck. If it doesn’t, I’m still eating ramon noodles. We’ve actually put quite a bit of work into this project. We’ve spent the past 9 months writing songs as that is, by far, the most important factor. Since, I’m not charging for any of my services, there were a few stipulations. One, we could go to Nashville or some equivalent mega pro studio to do the drums in. Two, they would print up 10,000 sample cds. Three, they would print up 1,000 real cds that would be sold. Four, I had to help them with the marketing end.
With this project, we are doing everything as write as we possibly can. We are trying not to compromise at all. Even if the the record is a total flop (which it won’t be), the studio will get a tremendous amount of exposure. I expect to be able to raise my rates after doing this project.
So if you are looking to record more bands, give them a reason to come to you. What’s in it for them? If you are willing to work for free for a little while, you’ll make great money in the end.
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October 23rd, 2008
I once read an article where some big boy engineer guy who had his name on a a couple number one hits back in the mid 80s stayed busy for years based entirely off a bass sound he nailed on some Peter Gabriel song. He said that everyone wanted him to engineer their recordings because they wanted that bass sound.
The ironic thing about the situation is the engineer admits now that he did nothing different on that bass sound than he had on the numerous other records he had done. Of course, no one cared much about the bass sound on the other records. It turns out that the only change in the equation was the song and the player. The engineer said that this one particular bass player just sounds that damn good. He has magic hands and no one else comes close.
This takes me to my review of the Sansamp Bass DI. I bought this pedal about the same time I bought my first microphone, so I’ve had it for years and years. Before I get into it’s tone, I must say that bass is something that totally eludes me. Maybe it’s just my guitar player instinct, but I never seam to record a bass sound that impresses me all that much. I’m not sure what the problem is, but more than likely the answer to my question was in the first two paragraphs of this article.
I wanted to blame my recording gear such as the Sansamp Bass DI for me not achieving a bass sound that I really liked. However, I’m starting to think that this is not the case. I read the forums where the big dogs hang out. Someone once asked about the Sansamp Bass DI. I was amazed at how many people truly loved it. I’m talking about engineers who had 20 platinum records on their wall. These guys usually refute anything that’s not $3,000 but it seamed that no one had anything negative to say about the Sansamp Bass DI. Impressive.
So I sat down one day to play with my Sansamp. To be honest, I never played with the knobs too much on this pedal. I guess it’s a little ridiculous, but I just haven’t learned what truly sounds good on a bass. I think the biggest problem with my bass sounds (besides the variety of bass players) has been the quality of the basses. Almost every bass that I record with a DI has this over the top, unusable low end that just sounds like crap. While a few bass sounds do make the subs in the car go to town, I find that most of the time, the bass sound is up above the subwoofer level. It’s in the low mids region.
I’ve been experimenting with knocking out a ton of the lows with the Sansamp and I’m getting closer to what I’m looking for. The tone controls on the Sansamp really do seam to do something cool. They do offer a lot of flexibility. I find it easier in my brain to twist a few knobs on a pedal to extreme settings ( if necessary) than I do using a parametric eq plugin.
So for me, I can’t give the Sansamp a tremendous review. Honestly, I can’t give a review at all right now. I’ve not hit the bass sound that I’m looking for, but I’m going to keep trying until I find it. I’m not sure that the Sansamp is the cause or the blame for the this.
With that being said, the best bass sound I’ve ever gotten was done with a very good bass player with a very good bass. We ran him straight into a Vintech 1272 preamp and it did sound excellent. For whatever reason the Vintech preamp did sound much better than the Presonus M80 I was using. The difference was night and day. It’s very possible that the preamp you use the Sansamp DI with could make a huge difference in tone. I think the big engineers like it because it has all the knobs right there so they can fool with them as they choose.
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October 23rd, 2008
The role of the military drummer is a fascinating chapter from the hidden history of drums.
Hidden, because most people are unaware of the vital role played by the military drummer in communicating strategy and keeping the machinery of battle oiled.
Battle Stations
In the 17th century, in preparation for battle, before the head on clash between rival armies, considerable time was spent manoeuvering men into position.
The drums were used to convey orders - each ‘beat’ having a specific meaning instantly recognisable to the soldiers.
When the drummer’s ‘Call’ was heard, the men dropped what they were doing and immediately regrouped by their lieutenant or platoon commander to await further signals.
The Captain’s order to beat the ‘Troop’ was a signal to shoulder muskets, advance pikes and close rank and file.
The ‘March’ was a signal to advance, faster or slower according to the beat of the drum, to the point of rendezvous.
The ‘Preparative’ signaled the men to advance in rank and file to within skirmishing distance and be ready to engage battle.
At this point the company drummers would run to where the Colonel stood (or sat on horseback) beside his own side-drummer and the standard bearer.
Engaging The Enemy
On the Colonel’s order the drummers would beat the ‘Battaile’ or ‘Charge’. This was described by Colonel William Barriffe to mean ‘pressing forward in order of battle without lagging behind, rather boldly stepping forward in place of him that falls dead or wounded before thee…’
In the thick of battle, with the sound of cannon and musket, the neighing of horses, the screams of the dying and wounded, the Colonel’s voice would not be heard and the beat of the drum continued to play a vital role in communicating orders to the troops.
>From his vantage point the Colonel would command his drum-major to instigate various manoeuvers. If it was required to withdraw in an orderly fashion - for relief, or to gain a vantage point, or to lure the enemy into an ambush - the ‘Retreat’ would sound. The soldier, fighting for his life, was well prepared - the meaning of the different beats had been literally ‘drummed’ into him time and time again in training.
At the onset of battle, the roar of the assembled drummers would surely instil courage in the hearts of the men (and fear in the hearts of the enemy). Possibly, in the heat of battle, the beat of the drum, detached and ethereal, took on a spiritual quality, helping the combatants to distance themselves from the horror and suffering all around.
The drummer clearly carried a huge responsibility in the orderly conduct of war. In recognition of this it was considered highly dishonourable to knowingly strike or wound a drummer in battle.
Source:
Hugh Barty-King ‘The Drum - A Royal Tournament Tribute to the Military Drum’ 1988 ISBN 0 9513588 0 4
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October 23rd, 2008
“Like the tan? I got tons of sun on that Caribbean cruise. First class tickets to Florida and back! Nope, not an airline upgrade. 5-star service all the way, baby! Hotels, restaurants, theme parks…you name it! Look…I took pics with my new cell phone! Hey, let me know when you’re free to take a spin in the car - it’s a 2005 sports model, fully loaded! Yours truly, Chad E. Charlatan, is going to the top! Nope, no job. But I didn’t pay for anything myself. I don’t care who Ms. Donna Knowe-Bedter is, but it’s not my fault if she doesn’t keep tabs on her credit card statements. One day I’ll thank her for being so rich!”
In a perfect world, everyone is honest, with good intentions.
We don’t live in a perfect world.
ID thieves are supreme opportunists. Read the news? Hackers can break into corporate computer systems and steal information on clients and customers. “Skimmers” can be attached to credit card readers, and used to store credit- and bank-card numbers. Identity thieves may pose as employers, landlords or even utility company representatives to get at your personal and financial info. Other thieves may use their employers’ authorized access to obtain credit reports or other information. Databases and other records can be stolen from employers; thieves may bribe fellow employees who may have access to important data. They may steal your mail and take credit card offers, tax information and other documents. “Dumpster diving” involves digging through garbage to find information such as bank statements, or credit card information. And there’s always the age-old method of simply stealing your wallet or purse.
New ways of stealing your identity pop up frequently. “Phishing” became prominent in 2003 and 2004: well-designed emails and websites convince victims to provide information. Emails look legit, but release any information and the nightmare begins. The cost? Damages now top $1 billion per year. How’s that for a nightmare?
Thieves get new phone services, auto loans and credit cards using stolen information. Victims may find their mailing addresses changed, and their credit ruined. ID thieves can file for bankruptcy in the victims’ name to escape debt, and drain accounts by counterfeiting checks and debit cards. They can also open bank and credit card accounts using their victims’ names.
Your name may be given to the police during an arrest. If the real thief is released, and fails to arrive for a court date, you may be arrested. And out-of-pocket costs to clean up the mess can be staggering.
Be savvy, capiche? Thoughtful planning can prevent the pain of a stolen ID.
* Buy a shredder. Shred documents with your name, personal information such as social security numbers, phone numbers, addresses, birthdates, credit applications, financial documents, and medical and insurance information. Whole documents can be used against you. Confetti can’t.
* Get your credit report. Verify it. Manage this tool carefully, and use it for protection. It’s worth it.
* Secure your computer against online theft. Your PC is a gateway to private information. NEVER leave an online connection open if you are away from your computer. Use a firewall.
* Change passwords often. Use passwords with numbers and symbols that are easy for you to remember, but hard for someone to figure out.
* Some programs allow the PC to fill out forms automatically. Convenient, but your PC may be hacked for info. Disable this feature.
* Call your credit card companies and make sure there are no surprises on any of your credit cards, then request that restrictions be placed on each card. Example: you can request for no phone charges, or limits on single purchases. Violating these restrictions stops the transaction. Nightmare avoided.
* Mailbox secure? Stealing mail is one of the easiest ways to steal your ID. Get a lockable USPS-approved mailbox.
* Be extremely picky about giving out your Social Security Number. Resist giving out that very personal piece of information. Check the privacy act of 1974. Homework: go to http://www.faqs.org/faqs/privacy/ssn-faq/ on the web for more information.
* Other information, like your mother’s maiden name, seems harmless; those items are often used as verification of ID. Don’t give it out. Keep yourself to yourself, and stay educated.
Having your ID stolen is a terrible experience, and consumes much time, finance and energy. For your own sake, the sake of your sanity and your safety, set aside a few minutes to follow the advice above. Protect yourself the next time someone says, “…and your name is….?”
To send comments or to learn more about Scott Pearson’s Investment Management services, visit http://www.valueview.net
Scott Pearson is an investment advisor, writer, editor, instructor, and business leader. As President and Chief Investment Officer of Value View Financial Corp., he offers investment management services to a wide variety of clients. His own newsletter, Investor’s Value View, is distributed worldwide and provides general money tips and investment advice to readers both internationally, and in the U.S.
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October 19th, 2008
Oh, I know the last part of the title (Suck) isn’t a very pleasant description to apply to anyone’s CD cover. But, in the interest of plain old honesty, and to face our demons head on, I wanted to (again) utilize a worst case scenario that we can only improve from.
And, having said that, think of the average (and not so average) recording artist’s CD cover, and I’ll bet you will agree that 9 out of 10 CD covers present the artist simply posing while staring straight into the camera.
And, the few artists who want to appear different, unique and diverse, simply either turn sideways, stare into deep space, or gaze downward or backward for their photo sessions.
If you happen to be among the aforementioned guilty, you should realize that by *not* becoming more proactive and aggressive with the visual aspect and design of your CD cover, you are shortchanging the potential of your release from the onset, and not giving it its best possible chance for maximum success.
I first began noticing this overall trend when CDs began replacing albums. And, I believe that the difference was due, in part, to the dramatic reduction in the cover size.
Consequently, I felt that both labels and artists, perhaps, decided (consciously or unconsciously) that the reduction in size did not allow enough room for visual creativity, which is not the case.
But, those are only two reasons. For, I also believe that, while they may be decent to great professional music producers, I have found that most recording artists whom I encounter are amateurs, at best, in respect to marketing their releases from a visual perspective.
And, it’s not their fault, because ‘visual’ just doesn’t happen to be the medium in which they work. However, this isn’t to say that they can’t learn to become much better at pre-selling their releases visually.
But, as an artist, perhaps, your argument is that your music is, primarily, based on the “sonic” aspect…that it will mainly be “heard” and not “seen.”
This is, in part, true but also consider that, generally, before your music is HEARD, it is first SEEN (unless you are sending ‘plain vanilla’ promotion singles to radio or handing them out at will to friends, associates, etc.). And, here is how:
Radio:
Due to added expense, most independent labels forego manufacturing ’singles’ and, thus, usually send their complete retail releases out as promotion copies to the media. Hence, the radio music directors and program directors will SEE your release before they open your case to HEAR your music.
And, as the MD/PD takes your CD out of its package, does it, *POW!*, hit him with a bang visually, and immediately instill deeper interest *BEFORE* he hears your music?
Or does your, possibly, average to boring cover instill a blasé feeling that causes the MD/PD to presume that your music is, yet, another below average release, and is a further waste of his valuable time without giving it, at least, a listen?
* Press
The same thing applies to press music editors, reviewers and calendar editors as with radio personnel. Will the press personnel see a boring, posing cover and get that “Geez, here we go again” feeling, or will they assume that your lackadaisical cover will be accompanied by even more boring content, such as your bio, press release, fact sheet, etc.?
* Retail Consumers
While many potential retail consumers will, indeed, “hear” your music first (on radio or in nightclubs), there are also many more potential retail consumers who will not.
And, these particular consumers are the ones who either go to music retailers weekly for new releases and spend additional time browsing, or they may be consumers who are simply weekly browsers seeking the new, unique and creative ‘next big thing’.
In either case, for the consumers who espy your CD in their favorite music retail stores…does your cover jump out at them visually, make an immediate impact, and cause them to do a ‘double take’?
Does it then make them pick up a copy of your release, maintain their interest and force them to read your credits and song titles?
Subsequently, does it then drive them to a listening station for further review and, hopefully, purchasing it?
Or, will they simply look at, yet, another boring cover and go, “Eh,” and replace it for your competitor’s that is far more visually attractive, and your competitor’s who may also have read this particular article, with one exception…he acted on this information while you did not? 
Self-Realization:
Now, get a copy of your CD and take a look at it…I mean take a *really* good look at it. Then, using the radio, press and consumer theoretical perspectives above, honestly ask yourself if your cover has visually maximized its full potential.
Does it readily subscribe to the old U. S. Army slogan, “Be all you can be?” Is it, truly, all that it can be? Is it the best possible cover that you could ever hope for with this release?
Or, do you realize for the first time that you have both shortchanged yourself and your release, and that your cover is probably causing you to lose some significant sales, as it could, indeed, be presented to both the media and consumers much better?
If you now harbor the slightest inkling of doubt, after having given your cover another look, it is also safe to assume that your cover may be a bit questionable to others and, particularly, media professionals as well.
So, let’s say that you now realize that your cover is below par, and could be much better…that you can now admit that you truly did not give it your absolute best shot…that, in fact, your cover was an afterthought, at best. How do you get started on “conceptualizing” it from a visual standpoint?
Well, one way is to first consider your title…
If this is your debut release, can you make something unusually funny or witty out of your first or last name? Can either your first or last name present a double meaning, such as Byrd, Love, Green, Wolf, Young?
While those of us with such names are often ridiculed in our early school days, we have the advantage of our “weird” last names standing out and benefiting us in our professional careers.
If your release has a subtitle, or this is your second or additional release, can you put a twist on its title?
The same goes for your songs. I’m betting that you have, at least, one song, regardless of your genre, that can be selected as the title and used as the basis for a very attractive cover and graphic depiction of your music.
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