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December 2001
Cover Story
Incubus: Rocking on the Upbeat
By Jeff Perlah

Features
Hammonds and Wurlies and Clavs, Oh My!
BY NICK PECK

Let Them Be Cake
BY JON WIEDERHORN

Up Front
CAPTURED LIVE
BY MARK SMITH

IT HAPPENED THIS MONTH
Barry Cleveland

LOST AND FOUND
By David Simons

POP QUIZ

READ IT OR NOT
Barry Cleveland

SITE SEER
Chris Kelsey

THE BUZZ
By Jon Wiederhorn

Reviews
CROWN POWER-TECH 3.1
By Allen Lam

KORG TONEWORKS AX1500G
By Emile Menasché

SHURE AUXPANDER
By Karen Stackpole

YAMAHA EMX620/AS108 BUNDLE
By L. Max Taylor

Columns
BACKSTAGE: Home and Away
BY ROBERT L. DOERSCHUK

BANDWIDTH: Passing the Virtual Hat
BY CHRIS KELSEY

INDIE INK: Painting Daisies
BY DAVID SIMONS

MINDING YOUR BUSINESS: Three Roads to Take
BY DAVID HOOPER

Performance Tools
Performance TOOLS
BY BARRY CLEVELAND AND ED IVEY

Feedback
feedback

Editor's Note
Do It Your Way
Mike Levine Editor


Mixing Linkin Park: More with front-of-house engineer Brad Divens

Online Extras for December

 
Article
 
Do It Your Way

Mike Levine Editor

Onstage, Dec 1, 2001
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One of our features this month spotlights Cake, a band that's definitely not a slave to musical fashion. Cake's uniqueness got me thinking about the importance of finding one's own sound. Thanks to the band's individuality, listening to Cake is a refreshing experience. Unlike a lot of acts that sound, shall I say, reminiscent of artists who've come before, Cake does its own thing musically.

Of course, sounding like somebody else is nothing new; whenever an act becomes hugely successful, a host of copycats follow in its wake. That's been the pattern throughout the history of pop music. But the artists who really stand out from the pack are those who have their own sound. (Case in point: who do you remember better — Nirvana or Dishwalla?)

Originality is one of the most important aspects of being a musician. Although you can get to a certain level by just playing “licks off of records” (does anyone remember the funny Martin Mull song with that title?), eventually, if you want to make a name for yourself, you have to come up with your own ideas. It's more of an imperative for some players than others. Personally, I always chafed at having to learn somebody else's parts — especially solos — when playing cover material. I grudgingly learned the parts, knowing that the audience (not to mention the other players in the band) would expect to hear what was on the records, but I always wanted to play my own thing.

Of course, copping someone else's licks has an important place when you're learning (and who ever stops learning?). Everyone's style is based on someone else's to some degree. I remember an instance in which learning a particular Eric Clapton riff opened my mind to a world of new playing possibilities. While that specific lick did become part of my arsenal, I also adapted it, changed it, and made it my own.

Developing your own style (even if it's only a refinement of someone else's) is crucial to realizing personal musical satisfaction, and it might just be a key to your ultimate success. Even putting career and financial issues aside, being creative is one of the most fulfilling aspects of being a musician. After all, we're all creative types, or we wouldn't be in this crazy business, would we?

What I'm really saying is this: whether you're a solo artist or part of a band, don't get hung up on trying to sound like somebody else. Let your own musical personality shine through as much as you can. Be a leader, not a follower; you'll be glad you did.

We welcome your feedback. E-mail us at onstageeditorial@primediabusiness.com.



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