The Top 5 Melody Pitfalls—and How to Avoid Them | BMI

An exclusive tutorial from the renowned instructor of the BMI Nashville Songwriters’ Workshop

by Jason Blume

Many of the writers whose songs I listen to at my workshops work long and hard on their lyrics, striving to find unique, fresh ways to tell their stories and express their concepts. But they sometimes forget that we’re not writing poems, but songs—and if we hope to create songs that resonate with listeners, our lyrics need to be delivered on the wings of outstanding, memorable melodies.

It’s often easier to identify weaknesses in lyrics than in melodies. While it might be evident that a line of lyric is cliché and needs to incorporate a fresher, more original approach, it might be more challenging to diagnose the reasons why a melody fails to jump out of the proverbial pile or remain seared in the brain.

Following are some of the melody pitfalls I most often encounter—and their remedies.

1. Crafting Melodies That Sound as if They’ve Been Imposed Upon Predictable Chord Changes

Many of the songs by current pop and urban music hit-makers are crafted by creating a music track first. In these instances, a musical “bed” consisting of the keyboards, bass, drums and guitars is composed and produced prior to the melody that the vocalist will sing. A vocal melody is then crafted to work with the chord changes, beats and grooves that have been established.

While this approach to writing is not typical in country music, there are more instances of songs being created for the Nashville market by using this method. In country, Americana, roots and folk music, although a full musical track is not typically created prior to a vocal melody, chord progressions played on an acoustic guitar often precede the melody.

There is no “right” or “wrong” way to write a great melody, and countless successful songs have begun with a chord progression. The problem arises when the vocal melody sounds as if it has been imposed on those chords as an afterthought.

In my workshops, I, too, often critique songs with melodies that sound as if they were created as the result of writers strumming predictable chord progressions on a guitar—then imposing melody that works perfectly fine with those chords. There’s no “rub”—no dissonance. So, you might ask, “What wrong with that?”

There may be nothing “wrong” with these melodies, but “nothing wrong” is a far cry from melodies that are unforgettable, fresh and original. No one walks down the street humming chord changes, guitar licks, drumbeats, grooves or bass lines. While these are all important components of successful songs, they aren’t enough.

Giving more attention to these components than to the melody that sits atop them is analogous to a builder spending the majority of his or her time and energy on a house’s foundation, then haphazardly slapping together the actual home. The foundation is crucial—but not more important than the house. Chord progressions, drum patterns, guitar licks and bass lines need to be paired with fresh, original, can’t-get-them-out-of-your-head melodies and rhythms for the singer to sing.

It can help to assess your melodies by singing them a capella, to be certain they stand up on their own. They should be memorable, easy to sing and should not sound as if notes are missing—or extra notes have been crammed in—to accommodate lyrics.

Remember your melody is critically important to your song’s success. Regardless of how a song is begun, when it’s finished, it needs a vocal melody that compels an artist, publisher, producer or an A&R executive to say “Yes”—and an audience to invite it into their hearts.

2. Settling for Predictable Rhythms in the Vocal Melodies

With the unprecedented amount of music available to listeners, it’s more important than ever to separate our songs from the competition. Songs with melodies that rely on stock, less-than-exceptional rhythms are unlikely to command a listener’s attention.

One of the best ways to elevate songs from “good” to “WOW” is to write vocal melodies that incorporate fresh, hooky rhythms. Taylor Swift is a master of this tool. A listen to the verse and chorus of her GRAMMY-nominated smash, “We Are Never Ever Getting Back Together,” (Taylor Swift/Max Martin/Shellback) reveals the enormous contribution of the rhythms within the vocal melody.

This technique typically includes syncopation—placing the rhythmic accent on a “weak” beat—and it can be heard in countless hits. Some great examples are: Rodney Atkins’ recording of “Take a Back Road,” (Rhett Akins/Luke Laird); Carly Rae Jepsen’s “Call Me Maybe,” (Carly Rae Jepsen/Tavish Crowe); and One Direction’s “What Makes You Beautiful” (Rami; Carl Falk; Savan Kotecha).

Including syncopation and catchy, unique rhythms that push the envelope are among the best tools you can use to help separate your songs from the competition—regardless of your musical genre.

3. Lack of Contrast

A common melodic problem is the failure to clearly differentiate each section of a song (i.e., verse, pre-chorus, chorus or bridge) from other sections. While melodic and rhythmic repetition within a given section can be the proverbial glue that helps melodies stick in the brain, in order to sustain listeners’ attention, ideally, each section should be rhythmically and melodically distinct from the parts of the song that surround it. In simple terms, you don’t want the verses to sound like the chorus, or the bridge to sound like either the verse or chorus.

There should be no doubt when the chorus begins. You can achieve this by choosing from several different tools. One of the most effective ways to announce the arrival of your chorus is to use higher notes. The chorus often includes the highest notes in the song, and in many instances, these notes appear in the first line of the chorus.

Two exceptional examples of choruses that “jump out” are Adele’s “Rolling in the Deep” (Adele/Paul Epworth) and Jason Aldean’s “Fly Over States” (Neil Thrasher and Michael Dulaney).

Another way to be sure each part of a song is distinct from the song’s other components is to vary the rhythms in the vocal melodies from one section to the next. For example, if a pre-chorus is choppy and rhythmic, as a result of including a barrage of short notes (such as eighth notes), the subsequent chorus might benefit from longer notes (such as whole notes). Conversely, a verse that relies heavily on long, held-out notes might be best followed by a chorus that incorporates shorter notes for a more “rhythmic” feel.

While many pop, country and adult contemporary songs include choruses that “lift,” urban and urban-influenced pop songs often differentiate their choruses from their verses with a distinctly different rhythm—as opposed to soaring high notes.

To keep your listeners interested, be sure to vary the range and/or rhythms from one section to the next.

4. Introducing Too Many Melodic Motifs

We tend to remember that which we are exposed to over and over again—and this certainly applies to melodies. If you want your melodies to stick in the brain, repetition, repetition and repetition are the top three ways to achieve this. Your listeners can’t latch onto a melody and remember it if it keeps changing.

When I critique work from developing writers, I sometimes hear songs that establish a melody (for example, a 2-bar motif)—then bring in a new melody, and yet another melody—all within an eight-bar section. But when I analyze successful songs in various genres, I typically find that within any given section of a song (verse, pre-chorus, chorus, bridge) there are rarely more than two distinct melodic concepts.

For an example of a song that incorporates this tool, listen to Norah Jones’ GRAMMY-winning “Don’t Know Why” (Jesse Harris). You’ll notice that the verse is comprised of a 4-bar “call and response” melodic motif. The rhythm established in the first two bars is repeated in the second two bars. This 4-bar melody is heard four times; there is no additional melody introduced in the verse. The bridge also uses this tool by establishing a 4-bar melodic phrase—then repeating it.

Another excellent example of incorporating repetition by limiting the number of melodic ideas within each section can be heard in the chorus of One Direction’s career-breaking song, “What Makes You Beautiful” (Rami; Carl Falk; Savan Kotecha). The chorus is comprised of a 2-bar melodic phrase that is heard three times. It is followed by the 2-bar phrase that accompanies the title. This fourth phrase is a different melody and rhythm—thereby distinguishing the title from the lines surrounding it. This eight-bar melody is then repeated. With the exception of one line, every line of the chorus lyric contains the identical number of syllables, allowing the melody writer to repeat the same rhythm, and almost the same melody.

Listen to your favorite songs and you’ll likely hear the same rhythms and melodies repeated over and over within each section. By incorporating this technique into your work, you can write melodies that listeners can’t forget.

5. Failure to Rewrite Melodies

What’s the chance that the very first melody that pops into your head is such perfection that you couldn’t possibly improve even one note or one chord— even if your entire career were riding on doing so? Our careers are riding on composing songs that include melodies that are not just “good”—but exceptional. Your melodies need to edge out those written by the writers and artists who top the charts— the song crafters who have their fingers on the pulse of the current music scene.

To unearth the very best melodies you’re capable of, challenge yourself to rewrite each verse and chorus at least three times. You might craft alternate melodies by placing emphases on different syllables, words or combinations of words. For example, if your title is “I Know I Can Write a Hit,” you could emphasize the words in boldface (below) by holding them out longer or assigning them higher notes:

I KNOW – I Can Write a Hit
I – KNOW – I Can Write a Hit
I Know I CAN – Write a Hit
I Know I Can WRITE a Hit
I Know I Can WRITE a HIT

Explore different note choices—try ascending or descending notes; try different rhythms within the vocal melody—including long, legato notes and choppier rhythms. You might also see how your melody works at different tempos.

Yet another way to craft alternate melodies is to repeat some of your syllables, words or combinations of words. For example:

I Know—I Know – I Can Write a Hit
Know I Can—I Can—I Can Write a Hit

You might also try using nonsense syllables to create an added melodic hook. For example:

Oh, Oh, Oh, Oh – I Know I Can Write a Hit
I Know EYE—EE-EYE-EE—EYE Can Write a Hit

For good examples of this tool being used in various genres, listen to Feist’s “1234” (Feist/Sally Seltmann), Beyoncé’s “Single Ladies (Put A Ring On It)” (Stewart/Nash/Harrell/Beyoncé) and Jake Owen’s “Barefoot Bluejean Night” (Paslay/Altman/Sawchuk).

You can also try a variety of different chords to accompany your melodies. Sometimes, a new way of harmonizing your melody can be just the ticket it needs to bring it to life.

In some instances, the very first melody that flows from you will indeed capture the magic—but you can’t be certain of that until you’ve tried to make it even stronger. After you’ve explored a variety of melodies you can always go back to your first melody—if that’s the one you prefer.

Remember: If you don’t give the decision-makers and your listeners a reason to choose your songs over the competition—they won’t. Rewrite your melodies until they are distinctive, fresh and instantly memorable. Push the creative envelope while remaining consistent with the genres you’re targeting. Don’t settle for less than your very best. Your career is riding on it.

Jason Blume is the author of 6 Steps to Songwriting Success, This Business of Songwriting, and Inside Songwriting (all publishing by Billboard Books), and he has produced a series of instructional songwriting audio CDs. His songs are on albums that have sold more than 50 million copies, and he is among the few writers to ever have his songs on the pop, R&B, and country charts all at the same time. Jason’s songs have been recorded by diverse artists including Britney Spears, the Backstreet Boys, the Nashville Chamber Orchestra, and country music stars including the Oak Ridge Boys, John Berry (earning a BMI Million-Air Award for exceeding one million airplays), and Collin Raye (6 cuts). He most recently had two top 10 hits in Europe with Dutch star, BYentl, and his songs have been included in top television shows including “Scrubs,” “Friday Night Lights,” “The Guiding Light,” Disney’s “Kim Possible,” and “the Miss America Pageant.”

In addition to developing and teaching the BMI Nashville Songwriters Workshop, Blume has presented master classes at the Liverpool Institute for Performing Arts (founded by Sir Paul McCartney), and in Ireland, Scandinavia, Australia, Canada, Bermuda, Jamaica, and throughout the U.S., in addition to co-leading the Nashville Songwriters Association’s annual song camps. His latest book, This Business of Songwriting, Revised 2nd Edition has just been released and is available atwww.jasonblume.com, with e-books available at Amazon.com.

2013 in review

The WordPress.com stats helper monkeys prepared a 2013 annual report for this blog.

It’s interesting to me that for all the industry insider perspective I post, it’s the gear reviews that seem to get the most traction.  Comments anyone?

Happy, successful 2014 everyone!

Here’s an excerpt:

A New York City subway train holds 1,200 people. This blog was viewed about 6,400 times in 2013. If it were a NYC subway train, it would take about 5 trips to carry that many people.

Click here to see the complete report.

New Year’s Morning Thoughts for You!

Have a very disco Christmas, everyone!

How To Archive Your Recording Projects For Future Use | Digital Bear Entertainment

Here’s a little video we did about our archiving process.  This is what everyone should do when you’e finished a project.  The key is making files and stems of each part in the session so that you can recreate the work without relying on the DAW or the plugins being available at the time that you need them.

Also, understand that backup and archiving are different.  Backup is making sure you can recover from immediate disasters while you are working on a project.  That’s difficult and requires some planning.  Archiving, on the other hand, is preserving your work for future use long after you’re done with the project.  That is much more difficult and more important still.

Remember that your storage medium won’t last forever either, so use a RAID, and copy forward all of your work as new, larger drives become available at reasonable cost.

 

 

 

 

 

 

Understanding Preproduction: The Key To Making Meaningful Recordings | Gibson.com

Ted Drozdowski

Preproduction is the ultra-important process of getting everything in place to make the best album possible. It has an indelible impact on the recording process and the quality of the album that results. The sad fact is, it is overlooked entirely or in part by most new artists and by a shocking number of established recording and touring acts. That’s a major reason why so many albums suck. A lack of preparedness always results in mediocrity, whether you’re a garage band or Bob Dylan.

If you’re planning to record an album and you’re interested in creating something that has artistic value and integrity, consider this article a nudge in that direction. And remember one overall rule: if at all possible, do not rush any of the steps of the preproduction process. And if you need help making decisions along the way, seek it out, whether in the form of a producer or a knowledgeable friend with a broader grasp of the fundamentals of recording, arranging, songwriting and project management.

Another thing to consider is that there are no absolutes in preproduction other than the need to fully understand the artist involved and the nature and goals of the album being recorded. That dictates exactly what needs to be done for each project. Understand also that all of these elements are typically approached concurrently, which helps give a project momentum and establish a clearer overall picture of the final results.

This is complex, so let’s try to break it down into a few areas of discussion:

• The Artist: Every album that’s meaningful says something about who a band or artist is. Green Day’s American Idiot, for example, defines the group as thoughtful, socially committed individuals with an anti-authority attitude who use punk-rock-based music as a mode of expression. Tom Waits’ Bad As Me reveals him as a poetic writer and musical character actor with a wide berth of reference points on the search for new musical narrative forms – but with a strong foundation in established forms — and committed to experimentation. Nevermind defines Nirvana as a punk and classic rock fueled band, interested in examining the human condition and celebrating individuality, but in a way that is clearly accessible to more than a cult audience.

It’s easy to back analyze albums this way, but to really understand one’s own music and how it should crystallize in the studio requires self-examination, which means artists needs to have a sense about where their roots lie, what motivates them to create as they do, and other important factors.

A good producer can help an artist figure this out. And a good producer will spend time seeing live performances and getting to know a band or artist before entering the studio. Sure, there’s always the option to just go in and blast down a bunch of songs and hope for the best, but “the best” is easier to achieve when there is an attuned sensibility guiding the project that’s based on understanding the artist that’s recording. And that sensibility can belong to a producer or to the artist him- or herself.

• The Songs: If you’re doing two or three songs so you’ve got a demo to get regional gigs with or to get played on the local college station, there’s nothing wrong with going in and blasting those songs down. But if your goal is to make a good album that has artistic merit, material should be carefully culled and cultivated.

This process can be as simple as sifting through songs that have been written and demo’d in advance (making demos is important and educational, regardless of one’s experience level) or as complicated as soliciting tunes from outside songwriters, sifting through the recordings of other artists or finding a co-writer with whom to pen the necessary numbers. Only a genius should write songs in the studio, as the clock ticks and costs rise.

If you’re planning to make an album or producing an album for another artist, make sure you have more songs on hand than you need. And if you’re producing, you need to have songwriting chops so you can fix things that don’t work in lyrics and arrangements.

Ideally, start with 18 to 20 songs for a projected 10- to 12-song album, and winnow those down to the best. There’s nothing like playing songs in advance live to learn if they’ll stand the test of an audience or the studio. And if you’re producing, seeing a band live can provide fantastic insights for arrangements, rewriting and more — as can good demos on GarageBand or fully audible live recordings from the board or other sources. If a song doesn’t feel right for any reason, don’t force the issue. File the song away for later, since more performances or musical growth might reveal the improvements it needs to rise above the pack.

• The Experience Level: Not every band or artist is ready to make an album. If you’re not ready for the studio, don’t force it. Bad recordings exist on the Internet, on YouTube and on CDs for a long, long time. And they will be held against you. It’s best to wait until your playing is dependable enough to generate solid results. Try to be dispassionate in judging your or your band’s abilities.

Practice, playing live gigs and working on fundamental weaknesses can be viewed as long-term preproduction strategies, at a basic level. Doing demos on GarageBand or another simple hard-drive based recording system — or even live recordings on a Zoom or other self-contained, easy to use recording device — is a great way to prepare for the studio.

A good producer will level with an inexperienced band or artist, offer them some advice and be available later when they’re really ready to make an album.

• The Cast: A good producer or a self-aware band or artist will also know when to look outside for musicians in order to realize the best recordings possible. Think of the producer or artist spearheading the recording project — and there should always be just one person who is the ultimate creative decision maker — as a casting director. He or she needs to know who to call to play the right role in the recordings.

Always get the best players your connections and your budget afford. Always. And if you’re not sure who you need to play that Hammond B-3 organ part, or who the best local musical saw maestro is, ask friends and other artists for leads. These don’t have to be high-priced session musicians and perhaps shouldn’t be if you’re looking for something outside the box. They can be club players and mavericks, too — just like you.

A good producer should have a contact list that covers just about all requirements, including the phone number for the right engineer for a project, if that producer isn’t also manning the mikes and faders.

Thinking beyond the limitations of one’s own band is an important growth point for an artist. It is a sign that the music the artist makes has taken on a life of its own that extends beyond a comfort zone and regular reference points. It is a sign of creative maturity.

• The Studio: These days it’s possible to make cool albums in a bedroom. Tom Waits once used a metal Quonset hut in the desert as a makeshift studio. But it’s often hard to beat a professional or, at least, well developed home studio for big sounds, due to the design of live recording rooms and the selection of microphones, compressors and other cool gear that good studios should offer.

When looking for a studio, consider your budget for the project — including food, lodging and transportation for musicians; determine whether the cost includes the engineer and other personnel; you might want to investigate credit or payment terms; and if it has any meaning for you, look at the gear list. If you’re not technically informed, read the list of artists who have recorded there. That will be revealing, since each of them also went through the process of choosing a studio. And listen to recordings made in the studio. When the stars align, you’ll know.

Also, don’t go in over your head. These days very, very few indie albums recoup their recording costs. It’s simply the nature of the business and the times.

• The Goals: Know why you’re making an album before you start a recording project. Do you simply want a calling card for your band? Do you want to make an album that will take you to the next level? Do you want to compile recordings that might be ripe for film, TV and other synch licensing? Do you want to make a profound artistic statement?

All of these considerations may require different strategies — strategies that affect what kind of songs you’ll record, how you’ll record them, how many tunes will be part of the project, whether guest “stars” are appropriate, how you’ll mix… the list goes on.

Understanding a project’s goals – the “Big Why” in making an album — is very, very important. And many artists in today’s absurdly difficult music business environment haven’t answered that “Why” or even thought clearly about it.

For example, if you independently released an album 10 months ago that was never promoted to radio or marketed, sold only a couple hundred copies and is mostly sitting in boxes in your basement, why — in practical terms — would you consider making a new album? And yet so many artists and bands do, and slide down a slope of frustration and debt. Understanding why you’re making an album and analyzing the likely outcomes is a way to avoid both of those demons.

Stop Shredding Your Vocal Cords | Discmakers Blog

by CARI COLE 

Veteran vocal coach Cari Cole talks about proper vocal care and five things you can do to avoid major vocal health issues

Ever wonder why stars have issues with their vocal health? Why do professionals lose their voices and need to have surgery? Does it happen to everyone eventually, or are there proper vocal care techniques that can help to avoid these situations?

It’s not inevitable, but it’s highly probable that you will have vocal problems if you don’t learn to use proper vocal care. Your voice is an instrument inside your body, and how you treat your body will reflect upon your voice.

First things first, your voice is not an instrument to screw with. Your vocal cords are not replaceable. You only have one set, and the way you care for them will determine whether you follow the road of deterioration that befalls so many singers or take the high road to vocal care, preservation, and health for your career.

It’s not easy to be out on the road singing for a living and keeping your voice in great shape. There are many things you can do to care for yourself and keep your vocal instrument in good shape that aren’t exclusively related to vocal technique and vocal performance (see my earlier post titled 8 Ways to Improve Your Vocal Health), but I want to talk about vocal technique and preserving your voice while you sing. I want to give you some vocal tips and teach you how to master your instrument, and address the key things you can do to ensure you never experience major vocal problems.

Of course there is MUCH more to explore regarding vocal care than what I can present in this article, but I picked out the biggest contenders that cause issues as they relate to the technical voice. Let’s take a quick peek at what some of these problems are and how they develop.

Common vocal problems

Vocal abuse or misuse, such as excessive use of the voice when singing and talking or smoking, coughing, yelling, allergies, reflux, or inhaling irritants can cause abnormalities of the vocal cords, such as nodules, granulomas, polyps, or cysts. The difference between these abnormalities is mostly a function of what kind of tissue is involved.

Symptoms of vocal problems include vocal fatigue, hoarseness that doesn’t clear, chronic throat clearing, throat pain, cough (sometimes with a little blood), and the feeling of having a lump in your throat. Surgery is a less optimal treatment for throat granuloma than vocal therapy, although “granulomas are often slow to regress,” according to NYU Voice Center’s website.

Most all vocal problems are caused by a combination of health, diet, and a lack of good technique – and are reversible with a little work. The best path is to first identify what created the voice disorder. In many cases, a brief period of voice therapy is the best approach to learn good vocal care and technique, including proper breath support and eliminating high pressure at the vocal mechanism.

How to avoid shredding your vocal cords:

1. Avoid coughing.

Coughing shreds your cords. When you have an infection, the body will naturally cough to get rid of it. Fight your infection with organic garlic capsules (nature’s antibiotic) and quell that cough with Bronchial Soothe (available at Whole Foods or Amazon.com). It’s the only remedy I’ve ever found that actually stops a vicious cough. Coughing will prolong your recovery time by twice as long.

2. Don’t glottal.

Glottals occur when the edges of the vocal cords bang together in over-closure most always on a word that begins with a vowel. This results from poor vocal technique. The way to fix it is to add a soft “h” to the onset of words that begin with vowels, i.e.; “h-uh-oh”,“h-everyone”, “h-“I”; “h-always”. It can happen in the middle of a word too: “st-ay” – st-h-ay”. A really good vocal coach can teach you more about how not to glottal, however keep in mind that from my years of experience I have noticed that most inexpensive or mid-level coaches do not have this kind of expertise and can even cause vocal problems. It’s important to find someone that has a good vocal health philosophy as part of their practice.

3. Get your voice out of your throat.

Speaking low in your throat, or in a monotone can cause vocal problems like hoarseness, vocal fatigue, nodules, cysts or granulomas. Associate your voice with less pressure and move it higher into your mouth or head cavity to avoid undue pressure. Speak higher in pitch and raise the soft palate to move out of the throat and let the voice “ring” in the head, mouth, and sinus cavities.

4. Stop talking so loud!

Don’t yell or talk excessively for long periods of time (or speak over loud music regularly – bartenders beware). Yelling and speaking for an extended time can cause immediate vocal fatigue and hoarseness and can damage your singing voice. Keep in mind to speak at a normal volume as whispering also strains your voice. If you know your speaking voice is a problem, find a speech therapist or vocal coach who understands speech therapy to help you get back on track.

5. Study vocal and breathing technique.

Find a great (not just a good) professional vocal coach who specializes in fixing vocal problems and knows a thing or two about how to speed you back to health. Having a great coach is your secret weapon to keeping your speaking and singing voice healthy for life. Until then, check out my Singers Gift Vocal Warmups that not only warm you up, but strengthen your vocal instrument the healthy way.

Hearing Protection and Your Music Career | DiscMakers

by MICHAEL GALLANT

When it comes to hearing protection for musicians, it’s worth finding a solution to prolong your career and livelihood

 

[Ed: This is a subject near and dear to my heart.  Please get protectors that aren’t the squishy things.  They don’t block low frequency energy which is where most of the power is.  Get the Etymotic Musician’s Earplugs.  They run around $100 but that includes a hearing test, fitting, and post manufacturing test to be sure they work.  I’m on my second pair, and they’re the best money spent!    – JT]

 

About a decade ago, I worked with a drummer who refused to use any sort of hearing protection when playing, even though many of our rehearsals and gigs were decidedly decibel-heavy. “I just let the sound wash over me,” he told me.

After a year or two of not playing together, I had another conversation with that drummer, who, not surprisingly, was beginning to experience ringing in his ears, which could be a sign of tinnitus and other potential hearing damage. He was on his way to an audiologist to get an exam and custom fitted musicians ear plugs.

When it comes to hearing, the truth is your ears don’t care how good the music is, how hot the jam, how deep the connection, or how much you let the sound “wash over you.” Noise is noise, and too many decibels for too long will permanently damage your hearing. (For more on this, check out my article in M: Music and Musicians magazine on hearing protection).

That said, many musicians feel that ear plugs act as an unwelcome barrier. Whether foam, plastic, or silicon, plugs make it difficult to connect with the sound or audience, or muffle the nuances of a player’s instrument, the argument goes — so ears go unprotected.

In my own experience, I’ve found that working with ear plugs as much as possible during practice sessions and rehearsals — especially when mics and amplification are involved — helps me maintain my connection to the music, the audience, and my bandmates without putting my ears at undue risk. I try to practice the same songs or techniques with and without hearing protection – and sometimes with one ear plugged and the other open. This sort of repetition gives me a frame of reference, so when I hear something with ear plugs in, I more quickly imagine what it would sound like with ear plugs out.

Living in New York City, I also have ample opportunities to protect my ears from loud subway screeches or bus air breaks, and I sometimes wear my musicians ear plugs out and about during the day. The more time I spend with them in, especially while engaging in conversations on the street or bouncing around the city, the more comfortable I become with them in general, and the less like I’m walking around — or making music — inside a bubble.

It’s worth experimenting to find the hearing protection solution that works for you. While specially molded musicians earplugs are my favorite choice for now, plenty of players opt for other options, including inexpensive foam ear plugs that you can get from any drugstore. The key is to see what works given your instrument, decibel level, and performance habits, and not to give up on hearing protection as a whole, just because one solution is not be the best fit.

As musicians, we’re in this game for the long haul. Ears are a precious asset, and anything that can be done to maintain hearing acuity while still connecting with your performance is energy well spent.

Read more: Hearing Protection and Your Music Career -Disc Makers http://blog.discmakers.com/2013/09/hearing-protection-and-your-music-career/#ixzz2fG8ql3ta