Tuesday, September 2, 2008

What Makes a Real Artist?

While many carry the artist title because they are part of the music industry, very few can actually pretend to be entitled to the golden crown that makes them real artists.

As far as I can look back, music has always been full part of my life. Growing up with classical music with some openings towards jazz and pop music, I have extended my interest to black music including gospel, soul, blues, and of course, hip hop. I am usually open minded about music, as long as it pleases my ear. However, I am very picky when it comes to define somebody as a real artist. Only the Great who influenced music history deserve to be classified as real artists.

Johann Sebastian Bach is one of those real musicians. His music is an example of hard work. His incessant quest for perfection and harmony characterizes his music. Among the Great, you can count people like John Lennon, Ray Charles, Duke Ellington , James Brown, Eazy E, Nas-and yes- Eminem, whatever his haters might have to object. (This list of artists I mentioned here, is of course, non exhaustive)

Despite the fact RIP Proof was less known from the public than other famous artists, he had all the qualities that make a real artist.

So what is the definition of a real artist?

A real artist, a plain artist is a person who makes music for the love of it, not for the money only, even if he is perfectly conscious that he has a family to feed. A true artist must be inspirational to the listeners. Whatever his message is, people must be able to feel the music and to acknowledge the feelings expressed through the voice, lyrics and instrumentals.

A true artist usually has high requirements regarding the quality of his beats, instrumentals and recorded voice. Never satisfied with himself, he keeps working hard over the years in order to satisfy his public.

A true artist will always put his passion for the music, the will of sharing it and to satisfy his audience before the material aspect of the show biz.

A true artist definitely manages to generate a genuine enthusiasm among his audience.

While being on stage, he becomes the music. He and the audience are one and thats the full beauty of the musical fusion created by dedicated artists and a very receptive audience.

When you hear the song, you must be able to feel the artists feelings and to forget about yourself, because during such moments, there is only place left for the music. Yes, this can happen if the artist is a real, dedicated person towards his art.

When you heard a person like James Brown tell their audience: I feel so good I wanna screeeeaaam, you perfectly know that his words werent made up. There is a wonderful chemistry between such artists and the public. Good vibes are in the air and they penetrate into the mesmerized audiences.

Real artists usually stay humble in front of other great artists. Not only do they possess a good musical culture, but they will never mind quoting other legends. I heard James Brown paying homage to Ray Charles, for instance. So did Nas.

I do consider Eminem as a plain artist, because he changed the face of the rap game. He dared to use different themes than the usual themes used in hip hop and proved to be an astute word acrobat, playing with syllables and foolishly putting words together that you would never see side by side in real life. Moreover, his music touched a lot of people from different backgrounds all over the world.

RIP Proof never failed in naming big influences of his like Kurt Cobain, Jerry Garcia and John Lennon numerous times. One can consider D12 s Proof as a rhyming genius too. He had an amazing sense of realness and more importantly, a great passion for hip hop that wont die away since his
murder on April the 11th, 2006.

The Great in the music have the power to influence generations and usually make history. Even their deaths will never erase their contribution to the music history.

Entire artists are the ones who deserve your respect, because you know, deep inside of you, that they are the ones who live and breathe the music for your ears greatest pleasure. Only those guys will live on through their music over the centuries.

Copyright 2007 by Isabelle Esling
All Rights Reserved

My name is Isabelle Esling. I am an Eminem biographer and a freelance music journalist. I do teach English and German at public schools.

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Recording Acoustic Guitars - an Essay on the Importance of Acoustic Treatment of the Recording Space

Trawling through one internet music recording forum after another (as I often do) is certainly illuminating. The multitudinous posts from earnest recordists enquiring from the experts which microphone, preamp, soundcard, converters, compressor, EQ, reverb - blah, blah, blah - is better than another have a rather dulling effect on my sensibilities before too long. And in truth, I've begun to make a bit of a nuisance of myself at one or two places by interjecting with a recommendation that the poster look to the room before he batters his credit card in the hope that some sparkling new high-end "professional" piece of gear will solve all his recording issues. Sometimes the repost comes back claiming that the initial poster is a hobbyist and is not aspiring to achieve professional results - so why don't I just back off and let the guy/gal spend his/her money the way that he/she sees fit? That's all very well, but it doesn't gainsay the logical flaw in spending in the region of $2k on gear when a similar amount - or much less with a bit of research and DIY - on some acoustic treatment of the recording space would achieve a whole different order of improvement.

At this point I should perhaps confess that it took about a year for me to reach the same conclusion. There's no question that a sexy new microphone with a price tag to suit is far more appealing than buying bags of mineral wool slabs, or even proprietary, pretty looking, sound treatment products. I should also admit that I did read a whole lot online about ways and means, materials and products, and earnest debates between the experts - not all uncontroversial - before I felt confident about doing something about it in my own place.

Most - nearly all - of what I have learned I have learned through advice freely given by experts on internet forums concerned with recording studio construction and acoustics. There are some wonderful step-by-step instructions out there on how to make excellent DIY acoustic treatment solutions that are about as effective as, and at fraction of the cost of, commercial products. There are also detailed explanations available on the causes of problems encountered when recording acoustic instruments in small(-ish) rooms - a rudimentary understanding of which is essential to finding solutions for your own particular room.

Following some of that advice has lifted a veil from my recordings and has enabled me to deliver professional sounding projects resulting in a CD - and sales! So I won't apologise now for my evangelising about the topic whenever I get the opportunity - such a difference has acoustic treatment made to my own projects.

Hobbyist or not, you're better off recording in a field with the cheapest of gear than in most untreated rooms with the most expensive recording equipment on the planet.

So there!

Dave Keir is an acoustic fingerstyle guitar player and songwriter with over 40 years experience of recording, touring and teaching guitar. More information and resources can be found by visiting http://www.dave-keir.com

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