How to Record Vocals Like a Pro at Home
A Complete Guide to Recording Vocals Professionally
Last Updated: December 2023 | 5241 words (27 – 29 minute read)
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In this beginner’s guide to vocal recording we’re going to show you everything you need to know to get a professional sound right at home.
The ability to get studio quality recordings has become abundant – you don’t need a ton of expensive equipment to do it well.
Below, you’ll learn how to record vocals step-by-step, plus all the equipment you need, the preparation/setup/use of your gear and how to get a great performance.
Quick side note: be sure to check out our complete guide on how to make beats so you have something to record on!
Let’s get right into it.
Article Table of Contents
- 1 Vocal Recording Equipment
- 3 Recording Technique
- 4 How to Capture a Great Vocal Performance
Audio Version of Article
Before we start recording vocals at home, we need to prepare a few things.
One thing you want to always keep in mind in music production is – “garbage in, garbage out.”
You want every step of the process to be as clean and pro as possible, if you want the final result to really shine.
Vocal Recording Equipment
You don’t need a TON of studio gear to record vocals well. You just need a few key pieces that will get the job done.
Below is everything you’ll need, plus some suggestions on specific brands/models.
To record vocals at home you’ll obviously need a microphone. This is what the vocalist will sing/rap into.
And since this is the very beginning of our “signal chain” (the journey from acoustic sound to digital recording), we don’t want to skimp here.
Get as good of a microphone as you can afford. This is a place where price does actually matter.
Dynamic vs. Condenser Microphones
Since we’re recording studio vocals, we will need what’s called a “large diaphragm condenser microphone.” This type of microphone is very sensitive and picks up every nuance of a recording.
Dynamic microphones on the other hand are more rugged and are often used in live performance settings.
Really great studio microphones can cost thousands of dollars. But don’t worry, here are some affordable options for condenser mics that will get you a really good sounding recording:
- Budget Option: Audio Technica AT2020 (non-USB model)
- Mid-Range Option: Rode NT1-A
- Upper-Mid-Range Option: Neumann TLM-103
Don’t Use a USB Microphone
USB microphones might seem like a good, affordable option, but I recommend steering clear of them.
Audio conversion is a VERY important part of our signal chain. USB microphones that plug directly into your computer will rely on pretty low quality audio converters to turn the sound into a digital recording.
You’re not going to get studio level quality with that.
We want microphones that aren’t “bus powered” like USB microphones, but instead use “phantom power” from a pro audio interface (which will also have pro audio converters).
Remember, we’re talking about recording PRO level vocals at home.
The polar pattern of your microphone is simply a way to describe which side of the microphone you sing/rap into.
There are uni-directional microphones which record audio from one side, bi-directional microphones which record both front and back sides of the mic and omni-directional ones which take in audio from all directions.
If you’re only planning on recording a vocal, a uni-directional microphone is best.
Shock Mounts are usually included with the microphone you purchase and act as a “holder” for the microphone itself that then attaches to a microphone stand.
If your microphone didn’t include one, you should be able to buy one after-market.
Cable & Stand
Since we’re using a professional microphone, we’ll need to connect it to our audio interface using an XLR cable.
Depending on your recording setup, it can be useful to buy a VERY long XLR cable. A 6 foot cable probably WON’T be enough for you. Give yourself lots of length, just in case you need it.
As for a microphone stand, any type will do. Just buy the cheapest one you can find that is sturdy enough to last a long time.
The next part of our signal chain is a professional “audio interface.” In the consumer world, these are called “sound cards” and basically act as a go-between from your computer to your other devices (speakers/microphone).
The most important components of your audio interface will be:
- the Digital-Analog/Analog-Digital (DA/AD) converters
- the onboard microphone “pre-amp”
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Like mentioned earlier the converters are what turn the acoustic sound into digital recordings. The quality of your AD converters will determine how well that sound gets recorded.
As for the “pre-amps,” microphones are only able to capture and send out a very low level signal. So the pre-amp works to amplify that signal so it can actually be reproduced in a way that can be easily heard.
The quality of your pre-amp will determine how clean the audio recording is.
This is another place you don’t want to cheap-out, but to get the best quality possible will cost thousands of dollars.
Lucky for you, there are some WAY more affordable options that are SUPER clean and very “pro” sounding:
- Budget Option: Audient EVO 4
- Mid-Range Option: Universal Audio Apollo Solo/Twin
- Upper Mid-Range Option: RME Babyface Pro FS
You’re also going to need some headphones. Not just any headphones, though.
The headphones for tracking (i.e. recording vocals) don’t need to be super high quality, but they do need to be a specific type – CLOSED-BACK headphones.
The reason for this is we don’t want any sound (or as little as possible) to bleed into the microphone from the headphones while we’re recording. Open-back headphones are VERY noisy on the outside, and not at all suitable for recording/tracking.
If you’re recording yourself, you’ll only need one pair. But if you’re recording another vocalist, you’ll need two.
And be careful, most audio interfaces only have ONE headphone jack, which means you may also need to pick up a splitter/adapter to use two pairs of headphones at once.
Check out our guide on the best studio headphones for our recommendations.
Computer + Software
And of course, you’ll need SOMETHING to record into. Since we’re doing this at home, we don’t need a giant mixer board or any crazy “outboard” gear (like you see in major studios).
All we need is a decent laptop and some software (a DAW, i.e. digital audio workstation).
As for your laptop, you don’t need anything extremely powerful just to record vocals, but it should be decent.
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They are SUPER FAST, and actually way more than you need to record vocals at home. But they’re a great option.
You can record vocals at home on either a laptop or a desktop computer.
Here’s some specs to look out for, in either case:
- Processor: either Apple Silicon (M1/M2) or Intel i5 or higher
- Hard Drive: 1 TB SSD Drive or the bigger the better – audio files can get pretty large.
- Memory: 16 GB of RAM (you can probably get away with only 8 GB if necessary)
BUT, beware of one thing – if your laptop fan noise is super loud, that’s no good. That fan noise WILL leak into the microphone when you’re recording.
We want to avoid that as much as we can.
As far as what software to use goes, there are lots of very affordable options. Pick any one, they all do the same thing:
If all you’re doing is recording (and not composing/mixing/mastering) all you need is the baseline – i.e. cheapest – versions of these software.
Pop Screens and Reflection Filters
Finally, let’s talk about pop screens and reflection filters.
Remember, our goal is to get the cleanest vocal recording possible. But there are acoustic things that can impact the quality of the recording.
A pop screen is that screen/mesh thing you often see in front of a studio microphone in pictures. These act as a barrier between the vocalist and the microphone itself.
Their goal is to cut down on “plosives” when we speak, sing or rap. A plosive is the “p” or “b” sound that can have a lot of vocal power behind it. These can overload our microphone if we’re not careful.
A pop screen helps to reduce these.
A reflection filter, on the other hand, is something you may see behind the microphone in a home studio setup.
All sound reflects off of the various surfaces around us – the walls, the screens, computers, equipment, etc.
The reflection filter will act as a barrier to stop some of those reflections from getting back into the microphone and muddying up the recording.
And that leads us to our next point…
Room Acoustics and Noise
As we just mentioned, sound bounces around a room and reflects off of various surfaces. These reflections can:
- alter our perception of sound
- negatively impact the cleanliness of our recordings
That’s why your recording room’s shape, size and equipment/furniture all have an impact on how your recording will ultimately sound.
The goal of acoustic treatment (the foam you see on studio walls) is to dampen these reflections. And unfortunately, it can be an expensive, never-ending battle to “treat” a room correctly.
Since we’re not in a huge space within a professional studio, we need to get creative.
Acoustic foam treatment can definitely help if you’ve got the budget and apply it properly. But other large, porous items can help to dampen reflections too.
You know those thick, large, furry blankets with crazy prints on them? They’ll help.
You could even find 4 of those bad boys, and just hang them up to create a make-shift vocal “isolation” booth for yourself.
Mattresses can also be good, as can large fluffy furniture. But you can’t exactly tape a bunch of couches/sofas to the wall, can you?
You could also just use a reflection filter, like mentioned above.
Quick Note: Empty eggs cartons don’t do shit… Movies lie.
Another problem area you’ll have to contend with is external noise. Remember, studio microphones are VERY sensitive and pick up almost any sound.
That means air conditioners, heaters, exhaust fans, computer fans, electrical buzz/hum, squeaking chairs, shifting clothing/jewelry, outside weather and traffic, foot steps…
These mics will pick up everything.
So when you’re recording, try to minimize every possible noise you can think of. Especially loud-ass people talking or walking in another room.
Great, now that we’ve got all the preliminary stuff out of the way, let’s talk about exactly how to record vocals, step-by-step.
First we’ll set all our equipment up together and then go through actually recording your various vocal takes.
Setting Up Equipment
Whatever equipment you buy will have specific instructions on how to set it up, so make sure you read the manuals.
But here’s a basic look at how the signal chain works:
Vocalist -> Microphone -> XLR Cable -> Audio Interface -> USB/Thunderbolt -> Computer -> USB/Thunderbolt -> Audio Interface -> 1/4″ Stereo Cable(s) -> Headphones/Speakers
So your voice will go from the mic, into the audio interface, get converted into 1s and 0s for your computer, recorded and/or processed, sent back to the audio interface to be converted again into electrical signals that will become the sound you hear again from the headphones/speaker.
So.. Let’s make it happen.
First, get your microphone out and carefully place it into the shock mount and attach it to the microphone stand.
Grab your XLR cable and place one end into the bottom of the microphone and the other end into the INPUT slot of your audio interface. If there are multiple input slots, choose INPUT 1.
Your audio interface should NOT be plugged in or turned on when you do this.
The next thing you’ll want to do is install the software for your audio interface (the “drivers”) and then connect it to your computer using the included wire.
(Make sure you check the specific installation instructions of your interface)
You can now turn on the audio interface, itself.
Now, turn on your computer and install or open whatever DAW you chose to use and make sure it is able to detect your audio interface in the software’s “settings.”
Connect your headphones to the microphone jack of your interface, and you’re almost ready to record.
Bit-Depth, Sample Rate, Buffer Size and Latency
Three of the settings you’ll see in your DAW related to your interface are buffer size, bit-depth and sample rate.
Sample rate and bit-depth measure how much detail your recording will have. You always want to record vocal at a minimum sample rate of 44.1kHz and a bit-depth of 24 bits.
You can get away with 16 bits, but it just makes sense to use more. However, the more detail you want (ex/ 88.2kHz + 32 Bits) the more processing power you’ll need in your computer and audio interface
Now, your buffer size is the amount of audio data stored in memory before being processed and played back to you. As a general rule, you want as small a buffer size as your computer can handle when tracking/recording (ex/ 32, 64 or 128), but here’s a guide to help you choose.
All three of these setting will work together to determine the amount of latency that you’ll experience. Latency is the delay between a signal being recorded/processed and it playing back to you.
For example, if you’ve hooked everything up and speak into your microphone and there’s a slight delay between you speaking and you hearing your voice back in the headphones – that’s latency. And it’s mad annoying when you’re trying to record yourself.
Our goal is to choose the best settings possible, while minimizing the amount of latency we will experience.
A good rule of thumb is that a latency of 10ms or less is basically unnoticeable by us. Try to get as close to 10ms or under as possible. Again, this will depend on the power of your computer and audio interface.
Microphone & Vocalist Position
OK, we’re almost ready to record the vocals. But let’s briefly talk about positioning.
First of all, if you’re using a uni-directional microphone, make sure your vocalist is singing into the proper side.
Trust me, I’ve recorded entire songs rapping into the back of a microphone like a complete idiot.
But beyond that, the type of tone you get from your vocal recording will depend a lot on how the microphone is positioned and how close/far the vocalist is from it.
It can take some experimentation to find the best positioning for each individual song you record, depending on the vibe of the track.
Here’s some general rules of thumb:
- The closer the vocalist is to the microphone, the warmer and breathier the recording will sound
- If your vocalist is singing loudly or screaming, move farther away from the microphone, instead of turning down the microphone volume.
- A microphone slightly above the vocalist’s mouth will sound different to having the microphone slightly below their mouth (or directly in the center of their face)
A good general distance from a microphone would be 6 to 12 inches away from the “capsule.”
Setup the DAW Session + Levels
Now it’s time to setup our DAW software to be able to capture the various vocal takes we’ll be recording.
- Open your DAW
- Check settings to make sure your audio interface is recognized and in use
- Create a new project (use a 44.1 kHz sample rate and 24-bits if given the option)
- Set the project BPM/Tempo to whatever the tempo of the instrumental/music you’re using is
- Insert a “New Track” (stereo, if given option) and drag/import the instrumental music you’ll be recording over onto this track
- Insert a “New Track” (mono, if given the option) and label it “Record”
- If applicable, switch on the “phantom power” for INPUT 1 on your audio interface
- In your DAW, set the “Record” track’s “input” setting to INPUT 1 of your audio interface
- Next, “arm” the “Record” track to allow it to receive the audio signal from INPUT 1 – this is usually an R button or small record button on the track itself. Check your DAW manual to see how to arm a track for recording.
- Turn up the headphone volume knob on your audio interface and both you and your vocalist should put on headphones
- On your audio interface, gradually increase the “gain/input” knob of INPUT 1 (while speaking/singing into the microphone) until the audio meter on your DAW “Record” track PEAKS between -6db and -10db (this gives us enough “headroom” – i.e. space – for later). If the lights turn red, that’s called clipping and results in a distorted signal – turn the gain level down.
- Press the PLAY BUTTON on your transport control to play the instrumental while the “Record” track is still armed and ask the vocalist to sing their part as a “warm-up”
- While they are singing, keep an eye on the input gain (volume level) on INPUT 1 of your audio interface level and the “Record” track in your DAW.
- Adjust the volume/gain as necessary
Remember we don’t want any clipping (going into the RED on the signal meters). An ideal PEAK volume level at the loudest parts of the vocal should be between -6 and -10db.
This should result in a nice, clean recording.
What we just did was create a track to record audio into via INPUT 1 of our audio interface. We chose a stereo track for the instrumental because most instrumental music will have slightly different signals between the left and right speakers.
Mono tracks – for most vocal recordings – only consist of a single signal that’s duplicated in both left and right speakers.
We then set the recording input levels to something that won’t distort and will give us some additional space/room to work with afterwards.
You’re now ready to record your first take.
Let your vocalist know you’re ready to record your first take.
- Make sure your DAW’s “cursor” is at the very beginning of the “timeline” so you start recording from the top of the instrumental
- Make sure your Record track is still armed and receiving signal
- Press the RECORD BUTTON on your transport control or mixer in the DAW
- As the track gets recorded and your vocalist sings, you should see some audio peaks forming in the record track.
- If you notice any clipping on the audio meters during the take, you can manually adjust the input gain on your audio interface, but be careful – we want a consistent level of audio
- When the vocalist is done their part, hit the STOP BUTTON on your DAW’s transport control
- If prompted, be sure to “save” the audio recording
And now you’ve got your first vocal take fully recorded. Congratulations.
Now usually, you’ll want to do several takes of any given part, plus background vocals, adlibs and other stuff.
You can do this a couple of different ways:
- Insert a NEW track and set it up just like we setup the first track (input, arm record, etc), and then UNARM the first “Record” track and MUTE it. Next, ARM the new track you just created and use it as the new recording track
- Insert several NEW tracks, but don’t set them up to record. Only use the first, original “Record” track for the actual recording, and just drag the recorded audio down onto one of the new tracks using your mouse and mute it. Then you can capture your second/third/etc takes using the original “Record” track, and repeat the process of dragging the audio into one of the additional tracks and muting it.
Recording Dry vs. Processed Vocals
There are two ways of recording vocals professionally – dry (no effects processing during the recording) or wet/processed (applying effects like compression, EQ, etc during the recording).
Personally I think recording dry vocals is best because you can always process them (add effects) however you want afterwards.
If you’re recording through effects, then you’re stuck with it forever. Maybe you end up not liking what you did to it anymore after a few listens. Too bad, you can’t change it now. You’ll have to re-record.
If you really know what you’re doing on the mixing and mastering side of things (outside the scope of this article), then you can try recording wet vocals, but if you’re just starting out I definitely recommend AGAINST it.
How to Capture a Great Vocal Performance
Recording vocals isn’t 100% a technical process. There’s an art to it.
There’s an art to microphone selection, pre-amp selection, microphone positioning, etc. that all impact the greatness of the final product.
But beyond that, there’s an art to actually getting the vocalist to perform their best as well. That’s a part of your job as the producer and recording engineer.
Here are some tips to help with that.
Comfort and Vibe
Comfort and vibe is a HUGELY important aspect to the recording process. It can be a difficult, intimate and frustrating process.
So making sure your vocalist is comfortable is of utmost importance.
Don’t do anything or say anything to make them nervous, or second-guess themselves. Don’t be pushy or controlling. Don’t be too hard on them if they’re not getting the take exactly as you want it.
And beyond that make sure the vibe of your studio is right. You don’t want super bright fluorescent lighting like a classroom. You don’t want a messy room or a room that smells bad.
The vibe NEEDS to be right.
The vocalist/performer should feel as ease. Almost like they’re just chillin at home.
Vocalist Warm Up + Hydration
It’s also a good idea to have the vocalist warm up a bit before actually recording them. Just to get their blood flowing and vocal chords working a bit.
You also want to make sure you offer them either water or tea to help keep them hydrated and their mouths/throats from getting too dry.
Here’s another tip about “warming up.”
While you’re setting microphone levels with the vocalist, have them sing through their part and tell them you’re not recording this take. You should, however, be recording the take. You don’t have to use it in the final version, but you never know how good it will turn out.
The reason for this is that sometimes when a vocalist knows they’re being recorded, their performance is impacted. Sometimes, when they’re not in their own head, they can let loose and get into it more.
There have been times where I’ve had “warm up” takes that ware performed spectacularly, and much better than the rest of the vocal takes.
Full Takes vs. Chunking
There are a couple of different ways you can record a vocalist and it will really depend on the performer themselves.
Some people will be able to sing straight through an entire song in a single take. Other people may do better singing the verses and choruses separately. Others, still, will get their best performance by going line by line.
There’s no right way to do things. It’s all about doing whatever it takes to get the BEST OVERALL VOCAL PERFORMANCE POSSIBLE.
Try doing it in different ways if one way is not getting you the results you expected.
Punching In and Vocal Comping
Remember that with the power of computer software, our options are pretty much limitless. We can re-record over and over and over again without wasting any resources (except time).
That can also be a hinderance. You don’t want to have 100 different vocal tracks to sift through when it comes time to complete the song.
A good rule of thumb is to have 3 separate vocal takes for each piece of the song. Record the pre-chorus and verses 3 separate times. Do the same for the choruses and the bridge.
You want to have 3 takes of everything. You can then easily choose between the best takes.
But you can also mix and match the best parts of each take into one final “super take.” Maybe the singer has a really strong first line in take 1, but a better ending in take 3. You can slice and drag these pieces on to their own DAW track and combine them into a single take.
That process is called “vocal comping” and it’s very common.
You could also “punch-in” if necessary on one of the takes (or your “super take). Punching in is when you setup the vocalist on a new track to record, but only get them to sing a specific line/word/phrase in the middle of an existing take.
In this approach, the vocalist will hear the rest of their vocals, and come in only one the word/line/phrase they need to re-capture.
This goes back to the comfort/vibe of the studio session. You don’t want to be a slave driver – take breaks and don’t push too hard.
Again, you’ll get the best performances when everyone’s comfortable, not on edge.
It may be a good idea to do a few takes, take a quick 5 minute break and then analyze the takes. You may then want to go for another few takes.
Or you can work on the verses, and then take a break before recording the pre-choruses. Or you record the lead vocal and take a break before recording the double, background vocals or harmonies, etc.
And if you’re just not getting the type of performance you want then it’s ok to take a longer break and come back at it (maybe even the next day).
Finally, it’s important to experiment with things. There are some general guidelines when it comes to producing music and recording vocals, but they’re not exactly set in stone.
Why not try recording a distorted vocal? Maybe it’s exactly the vibe that the track calls for.
But beyond that, it’s important to experiment with things like microphone placement or vocalist position.
You can even try experimenting with the microphone you use on a particular vocalist. Certain microphones will just naturally sound better on certain types of voices.
The more you try things, the more likely you’ll find that golden sweet-spot that gives you a pristine and beautiful recording.
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Vocal Editing, Production and Mixing Primer
Before we wrap things up for this guide, I want to briefly mention a couple of things that are very important to the music production process.
Vocal editing is hugely important once you’ve recorded the vocal. Your job isn’t done yet. You see, humans are beautifully imperfect – and those imperfections are great and a part of the package.
But sometimes, the imperfections are a little bit too off. And so sometimes you’ll need to edit the vocal track to take out (or lower in volume) pops, lip smacks, loud breaths, etc. And sometimes a vocalist’s timing will be off and you’ll need to adjust it to get back in “the pocket.”
Another part of vocal editing can be “pitch correction” where a vocalist hits a note a little sharp or flat and you fix their pitch afterwards. (This is what tools like Autotune and Melodyne are for).
There’s also the task of vocal production. This includes things like deciding what type of background vocals or harmonies you’re going to layer on the main lead vocal. It also include how many stacks of vocals each part will get. Are there going to be adlibs? All these are part of the vocal production process.
And that leads into the mixing part of the production process.
What you have right now is a RAW vocal take without any processing done to it. It’s going to be a clean recording, but it doesn’t have that “industry polish” on it to help it really shine.
This is where a mix engineer will take all the different tracks (vocal and instrumental) and literally “mix” them together in the optimal way to let everything shine.
In the case of vocals, they’ll use compressors to get an even volume, EQs to reduce any harsh frequencies in the vocal track and then things like saturation, reverb and delay to really make the vocals pop and come to life in the track.
All of these areas are way beyond the scope of this article, but it’s important to be aware of them when you’re learning how to record professional vocals.
We will have future guides on all these topics right here at Deviant Noise.
Frequently Asked Questions
Yes, voice recordings are accurate but sound different to us when we listen to recordings of ourselves. That’s because we hear ourselves talk through our body, which impacts the tone we hear. The recording of your voice is an accurate representation of how you sound, depending on the clarity of the microphone used.
Vocals are normally recorded in mono since most microphones are single channel audio sources.
You should record vocals at a maximum loudness of -6db to ensure there is enough headroom in the audio to allow for mixing.
No, you should not record vocals with effects unless you’re very experienced as a recording engineer. It’s better to have complete dry vocals that can be effected after the fact, rather than printed into the audio itself. This allows for more flexibility.
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And there you have it – a complete, comprehensive guide on vocal recording for the home studio.
It will take some time to really get used to the entire process, but the important thing is to just start doing it.
Don’t sweat the equipment too much – most entry level stuff (microphones, audio interfaces) is pretty damn good quality nowadays. If you go with our budget picks, you’ll have REALLY GOOD – and affordable – sounding equipment to work with.
And as with anything, the more you do this process of capturing a vocal performance, the better and better you’ll get at it.
So get to it…
If you’re new to making music, sign-up for our free Beat Making Cheat Sheets and you’ll get our 7-Day Course to Better Beats as well.
Thanks for reading this entire guide on how to record vocals for beginners – at home, and like a professional. I hope it was helpful.
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Download FL Studio Producer Edition 220.127.116.11 for Mac full version program setup free. The FL Studio Producer Edition 18.104.22.168 for Mac is a complete professional Digital Audio Workstation that helps music editors, musicians, and producers in composing, arranging, recording, editing, mixing and mastering the professional quality music. Download these FXC files and place them in the Cakewalk Content Cakewalk Core FX Chain. Fracture features a buffer effect, a multimode filter, three LFOs and a delay. At the header of Fracture’s interface, you will find a drop down menu which allows you to reconfigure the order of the effects in the chain.
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This studio music creator and mixer software is the digitally sound boosting workstation. It is compatible with both Windows as well as Mac devices. This software is the maestro of sound generation and has been developed as well as launched under the Image line banner. FL Studio Reg Key Full Edition has recently launched the 20th successive version of the software. The current version has 12 sub-types as well. The difference between the three editions is of the cost as well as features. FL Studio Crack is a complete software music production environment or Digital Audio Workstation (DAW). Create music while on the move.
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The Oktava MK-519 is a large-diaphragm FET condenser microphone with a cardioid polar pattern.
The microphone features a large 27.5 mm condenser capsule with gold-plated diaphragm and a single layer headbasket for clear and natural mid and high frequency response. The use of a pop-filter for close-miked vocals is a must! The capsule is mounted on a absorptive material to reduce internal sound reflections. The MK-519 has a very high sensitivity and extremely low self-noise level, thanks to the high polarizing voltage on the capsule (about 100 V). The microphone features a new no-feedback amplifier capable to work properly on 600 Ohm load.
The microphone sounds natural and warm with very clean and precise high frequency response.
Great for recording: vocals, drums, acoustic and electric guitars, wind instruments.
- Transformerless design
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- Wooden case
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- Individual frequency graph


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Take Classical KUSC with you anywhere you go. Classical KUSC is one of the largest and most listened to classical public radio stations in the country, dedicated to making classical music and the arts a more important part of more people’s lives. Locate
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SomaFM's official app, giving you access to over 30 year-round channels of listener-supported, commercial-free, underground/alternative radio, with all music hand-picked our award-winning DJs and music directors.
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The Collection by R. S. MacDonald is the first publication of tunes for the Great Highland Bagpipe by this internationally-acclaimed performer and composer. First published in 2009, this book was launched alongside the updated A Few Tunes – and Mair by Ian & Gordon Duncan at the Piping Live! International Piping Festival. Many of Roddy’s original compositions are staples in studio recordings and competition performances by some of the world’s top soloists and pipe bands. This book is definitely one for your collection.


refurbishing my old lovely drums
about the set
This Hayman is actually 2 drum sets. I bought the first one (with the sizes BD 20×13, SN14x5, Tom 13×9 and 16×16) from an old widow. She told me that her husband was a professional drummer. This was twenty-six years ago. Back then I became a fan of these old drums and so I bought another set with the sizes BD 24×14, Tom 12×8 & 14×14 (which is not seen very often). I played these drums a lot in the studio and live, they fit every style and never turned their back on me:) It is really my working horse!
As much as I love this set, over the years it became a horror to get it in tune! I realized that the time has come to fix the problem, otherwise I’d have to buy a new vintage set. My drum friends kept telling me about this guy Pommes (Pommerenke), who is a master drum builder from Berlin. I gave him all my Hayman drums (and trust) and he did his magic. Maybe I’ll tell u later but the snare drum…man it’s not the same in a very positive way:) It sounds so sensitive I could flip out…
I will make a drum video with all the details, including a sound demo with all my beloved vintage studio gear.


Cope, David H.
Title: New Directions in Music, 6th ed.
Publisher: Madison, WI: Brown and Benchmark, 1993.
LC Call No.: ML197 .C757 1993
The purpose of this book is to explore the history, philosophies, materiass, composers, and works pertaing to music since the late 1940s. It is an introduction and survey of avant-garde and post avant-garde music in the twentieth century. The book incuudes writings on Sound-Mass, Rhythm, Microtones, Instrument Explorations, Electronic/Computer Music, Media Forms, Improvisation, Indeterminacy, Antimusic, and the Post Avant-Garde.
Title: Experimental Music.
Publisher: New York: Schirmer Books, 1974.
LC Call No.: ML197 .N85 1974b
Schwartz, Elliott, and Daniel Godfrey.
Title: Music Since 1945: Issues, Materials, and Literature.
Publisher: New York: Schirmer Books, 1993.
LC Call No.: ML197 .S398 1992


Dad bought me a toy drum one Christmas, and I eventually destroyed it. I wanted a real drum and he bought me a snare drum. Dad continued to buy me one drum after the other.
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Lucy took care of me on the set, and made sure that none of the...
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My talent for playing the drums was a gift from God.
I would rather have played a character like Opie than Little Ricky.
George Reeves was really Superman in my eyes. For him to come on the set...
In fact, I was one of the few trusted people that Lucy allowed to play...


“There are short cuts to happiness and dancing is one of them” - Vikki Baum
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An easy-to-use and invaluable resource you'll want to keep around forever.
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By Duduka Da Fonseca and Bob Weiner / transcr. A solid and extremely valuable guide to applying traditional Brazilian rhythms to drumset. It delves into the. Brazilian Rhythms For Drumset sheet music – Drumset sheet music by Duduka Da Fonseca and Bob Weiner: Manhattan Music. Shop the World’s Largest Sheet . Brazilian Rhythms for Drumset by Duduka da Fonseca and Bob Weiner presents a solid and extremely valuable guide to applying traditional Brazilian rhythms to.
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Review Guidelines Explain exactly why you liked or disliked the product.
Includes samba, partito alto, bossa nova, baiao, caterete, maracatu, marcha, and frevo. Make a wish list for gifts, suggest standard repertoire, let students know which books to buy, boast about pieces you’ve mastered: Close X Music Lists. Is the transcription accurate?
Brazilian Rhythms for Drumset: Drumset Book & CD: Bob Weiner
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Brazilian Rhythms for Drumset
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Power songs Product Information
Power album for sale by Z-Ro was released May 08, 2007 on the Rap-a-lot label. A power-player in the Screwed Up Click, Z-Ro has been releasing albums to critical acclaim since the late 1990s. Power songs This 2007 release--his seventh long-player--represents the Houston rapper's first pop chart success, and features some of his hardest-hitting rhymes. Additional personnel: Dougie D, Duke, Point Blank, Mike D , Pimp C, Spice 1, Vicious, Big Boss, Big Shasta, D-Bo, Lil' Flip. . Power CD music contains a single disc with 14 songs.
Power album for sale Product Description
Z-Ro - Power Album Track Listing
Power buy CD music Customer Reviews
List All 7 Reviews
||King of the Ghetto|
Zro frequently releases top selling demos and mixtapes but K.O.T. G he went overboard ''I'm a Gangsta'' is my favorite song certainly Ro keep nup the amazing work.
By Octavius (San Antonio Texas)
||z-ro is KOTG|
REAL ALBUM THAT JUST CAME OUT, NOW IT IS TIME TO HEAR SOME RADIOWAVES SO MORE PEOPLE CAN HEAR IT AND GO BUY IT, MY FAVORITE JOINT IS BUD SACK ITS KIND OF A SING A LONG SONG THAT STARTS OUT FUNNY SO GO COP IT.
By trueman (dallas,texas,usa)
||King Of Tha Ghetto|
It aint hard to tell that dat man Ro deserve his self proclaimed title (K.O.T. G). Thatz what he truly is.
By Jamesakajuice (St. Louis, MO.)
||this is the best album ive heard|
every time i hear a z-ro song i say man this is is the best song but every time i hear a new one he always just gets better and better, u need to buy this album.
By ragime (SANTA CRUZ, CA usa)
||Not up to his usual|
This album seemed venture to a different style from his previous works. In the past, the production style often complemented the depth of Z-ro's lyrics, which are top notch.
By alias_clark_kent5000 (Atlanta, GA)
heard this album?
Power songs Product Details
|CD Universe Part number||7425517|
|Release Date||May 08, 2007|
|Recording Time||58 minutes|
|Personnel||Pimp C, Spice 1, Lil' Flip, Mike D, Point Blank, D-Bo, Big Boss, Big Shasta, Dougie D, Duke, Vicious|


Hi, i live in an apt in new york city and can't disturb my neighbors.. I play drums but at home I use an electronic drum kit and have been practicing with my friends using headphones to monitor ourselves and we'd record sessions into my computer using the rca tape outs. I have only been playing with one musician at a time so a dual headphone splitter worked fine until now.... I organized a jam session with 6 other musicians in my building and would like to record it the same way I used to. My problem is I have no way of splitting the headphone jack 7 ways. My plan was to daisy chain 2 analog mixers together and use the headphone jack on each one split with a 4 way 1/4 splitter. but here's the problem..... How can I run half the instruments in one mixerA into the other mixerB and then back to the mixerA finally resulting in hearing all the instruments using both headphone outs on both mixers? In other words.... I have : 1 drummer 2 guitar players 1 electric violin player 2 synth players = 7 musicians I could run everyone through my stereo at a low volume but would prefer everyone use headphones so we can turn it up as loud as we want to replicate a live practive environment. I have 2 mixers with all the goodies. How should I do this? This is my 1st post here so please help me out. Thank you!


This is a very nice collection of loops and one shots. The drum loops have the real authentic sound aesthetic but are produced with more punch to make them stronger than the original old school samples. The production and recordings are generally all very clean and phat, so you are not closing up your mixes with these. This pack also contains a bunch of synthesiser loops for a more futuristic tip in the Reggaeton world.
Worldwide Reggaeton is one of the best packs for this style of music I have found. The drum, music and vocal loops are all on point and usable as is the one-shots, which are keymapped into sampler patches. The chords, drums and vocal chops can be also used with many other styles of music from Afro-House to Techno which require a modern flavour.


Why does my recording need editing, mixing and mastering?
When tracks are recorded they are usually captured as cleanly as possible, with little or no use of EQ or processing. This allows decisions regarding the tonal shaping of sounds and the application of effects to be taken freely in the mixing stage, enabling a wider choice of possibilities in creating the character of the final piece of music.
Editing involves taking the raw tracks from the recording session(s) and ‘cleaning’ them up. This typically means trimming unwanted bits of noise from individual parts and, where possible, fixing any performance errors. Ideally, parts would be performed to the required standard from the outset, but to a certain extent, monophonic tuning errors can be corrected (ideal for vocal ‘issues’!) and errant instrument hits or bum notes can be removed and replaced by copying and pasting suitably correct material, where available.
In addition to the general editing and mixing techniques, BLS can also offer further advanced processes such as drum replacement (the use of professional drum samples to replace or enhance live recorded drum parts) and guitar re-amping (the replaying of existing DI’ed guitar parts through in-studio amp/effect chains and the subsequent re-tracking, allowing flexible tailoring of guitar tones used in the final mix).
Mixing is the process of arranging the multiple, edited tracks into a coherent piece of music, treating them with EQ, dynamics and effects if desired, and ultimately mixing them down into a stereo format. At BLS, mixing is usually done over several unattended sessions once the client has completed recording the raw material for a project. This allows for a more objective viewpoint to be maintained throughout the project, and is more time-efficient for the client. Each individual track will be scrutinised and any unwanted noise will be removed before EQ-shaping and dynamics/effects processing are applied. Parts are then roughly balanced in level and panned in the stereo field before any changes are written into mix-automation and fine-tuned to create the finished mix.
Mastering is the final stage in creating a finished version of an audio project. Completed stereo mixdowns are treated to overall EQ, dynamics and effects processing and the lead-in/lead-out of tracks are managed. Global levels can be adjusted to equate with commercial releases (although the importance here is to ensure that a sense of dynamic range, relevant to the style of the piece, is maintained rather than simply ‘slamming’ the levels up to maximum!). If the project is an EP or full album, the gaps between tracks and the balance of their relative levels are carefully considered. Finished master tracks are ‘dithered’ down from the high resolution files used for recording and mixing, to the standard audio CD resolution of 16bits/44.1kHz. To ensure the highest standards of reliability and compatability, all master CD’s created at BLS are done so using high quality CD-R’s authored and error-checked on Plextor CD writers.


Brisbane jazz band "Jazz Australis" is a versatile jazz experience for any occasion. With over 700 performances together this professional jazz trio are guaranteed to capture the spirit of any function or event.
Jazz Australis are able to enhance your intimate dinner function or headline as a showcase performance with any of their award winning guest artists including Melissa Western, Ashley Lewis, Will Barton, Mark Ham, Duende, Leah Rush, Rafael Karlen, Sarah Mahias and Gerianne Rudd.
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Available for weddings, cocktail functions, corporate events, themed nights, special occasions etc…
Reviewed on 08th Sep 2016
The guys were great – was just background at this function.
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“You have a chance to buy a museum piece!
For your attention one of the rarest drum machines of the Soviet Union – Elektronika Ritm (Electronica Rhythm). SN 356, produced in February 1979.
The unit after full profesional service (recapped, tuned, cleaned). Comes with original pedal – even more rare thing than the drum machine itself, but it doesn’t works correctly (only for start beat).
Electronica Rhythm is an analog drum box with 30 preset styles and base sounds such as big drum and snare, rim, cymbals, tom and some percussion sounds. Drum sounds are controlled by 8 sliders. There are also 5 buttons for live playing.
It was manufactured by a military soviet plant in the late 1970s in very small quantities, because for Soviet standarts it appeared too expensive in production. This in LINNDRUM-type with an own character. BTW, this rhythm box was used by legend of Soviet rock – Viktor Tsoy (“KINO” band) for album ’45’.”
Click here to search for synths on eBay


About Trap Soundboard - Trap Touchpads Beat Maker
Trap Touch Pads App is a Sound Looper Trap Soundboard with Touch Pad Trap Music Button. Touch with your Fingers the Pads and try to create a Trap Beat Pattern. If you have found your order to touch the right Pads to create your Beat Pattern, you can push the loop button.
When loop is activated which you can see when it is highlighted, all sound will trigger in the same order you touched it before. To get good sound quality results, you can plug in speaker to hear the basses right. When you've created your Trap Music Beat, you can now start to write and rap your own Trap Rap Song.


07.07.2018, 18:00 P.M.
Rachel Factor, harpsichord
Aisling Kenny, voice
Theresa Burton, recorder
Margaret Doris, cello
A selection of works for voice, recorder and basso continuo (harpsichord and cello) by eighteenth-century composers, many of whom had a connection with Dublin, including Handel, Geminiani, and Pepusch. The concert features cantatas and instrumental pieces, performed with a keen awareness of historical performance.
Geminiani: Sonata No. 3 in g minor for alto recorder
Vivaldi: All ombra di sospetto
Handel: HWV 134.
Pensieri notturni di Filli
Geminiani: A Variation on a Scottish air
Pepusch: When love’s soft passion
F. Mancini: Sonata for Recorder
Bononcini: Idol mio bel Tesoro
Booking required. Duration: 70 minutes.
Get tickets by visiting our store below. Ticket sales are powered by EventBrite.Buy Tickets


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Piece - by Joseph Guy Marie Ropartz (1864-1955) - for Trombone and Piano.
Piece - by Joseph Guy Marie Ropartz (1864-1955) - for Trombone and Piano.This Trombone Sheet Music is available for digital download in PDF form only - the item includes :• Score• Trombone part Tenor Clef• Piano partDifficulty : Advanced27 pages.
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Premier big band in Houston. I play guitar with them.
Drumming legend I get the opportunity to play with from time to time.
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My alma mater for Graduate School.
Guitar legend, and my teacher at Northern Illinois University.
Top call Chicago saxophonist and Educator.
Great friend and master saxophonist and composer in the Nashville area.
Great bass player and composer in the Chicago area. I played on his debut album, you can buy the album at this link.
Top call Trombonist in Chicago, great player.
Great Bassist and overall creative baddass.
Great jazz and Latin drummer, originally from COlumbia, now residing in Chicago.
Houston area bass player and composer.
Great Houston area bass player and composer.
Great Nashville area bassist and Producer.
Master Jazz Educator and Clinician
My guitar professor at University of North Texas.
Great Chicago area bassist.
Great Houston area Guitarist.
Fluxure is an artistic New York City production house specializing in cutting edge visual and audio experiences. They designed and programmed this site.


RAFA INTERNATIONAL DANCE SCHOOL (RIDS) stands for Rapid and Fun Activation. A Dance School with a friendly and caring environment where every individual matters! We offer a variety of classes designed to promote a positive and educational experience for students of all ages and abilities and are committed to providing high quality instruction. RAFA INTERNATIONAL DANCE SCHOOL prefers to work with small classes in order for pupils to receive the highest quality dance tuition with more individual attention.
RIDS teachers are experienced professionals and we mentor our students to help each individual reach their ultimate potential in an active, fun, and pleasant environment. RIDS offers a complete dance curriculum for all ages and abilities. We stress proper technique and performance with classes ranging from the specialized ballet program for pre-schoolers to advanced levels, jazz ballet, and contemporary dance. Our professional staffs offer an international standard* and magnificent experience in dance world.


Boston the Arkells are back! You saw them perform at the Agganis Arena with Frank Turner and now they're coming back to headline The Sinclair on Thursday, November 16th! ALT 92.9 has your chance to win a pair of tickets to the show & a signed vinyl off their latest LP Morning Report! Don't miss out, enter now!
Find out more about the show: https://www.axs.com/events/339538/arkells-tickets?skin=sinclair
Knocking At The Door available everywhere NOW: https://arkells.lnk.to/KATDWe www.arkellsmusic.com www.facebook.com/arkells www.twitter.com/arkellsmusic www.instagram.com/arkellsmusic Music video by Arkells performing Knocking At The Door. (C) 2017 Arkells Music Inc./Last Gang/Entertainment One/Universal Music Canada Inc. http://vevo.ly/Kkogh8


PIEC'Art brings another scandinavian group to Krakow for a two-night stand. An intriguing instrumental setting puts together voice, harp, bass and drums to bring surprising music that is poetic, dark and theatrical. The material available on the web sounds very inviting.
Improv guitar-drums duo from Latvia. Arutyunyan & Rubenis’ debut record ‘Temple of Sound’ will be released by SKYR in April 2013 on a limited edition of CDs (300 copies) and a super limited edition of audio cassette (ltd. to 33).
Arutyunyan & Rubenis’ debut record ‘Temple of Sound’ will be released by SKYR in April 2013 on a limited edition of CDs (300 copies) and a super limited edition of audio cassette (ltd. to 33).
09.04 Swedish Azz at Alchemia
Part of Krakow Jazz Autumn Previews series, a dynamic outfit led by Mats Gustafsson, project dedicated to the two greats of scandinavian jazz Lars Gullin and Lars Werner. Swedish Azz released a series of vinyl-only singles on Not Two records. The band is: Mats Gustafsson, Per-Ake Holmlander, Erik Carlsson and dj dieb13 (unfortunately Kjell Nordeson won't be able to attend the tour).
The week's must-see concert.
and for the weekend a couple of something more on the party side:
13.04 Pawel Kaczmarczyk Directions in Music - Headhunters at Harris Piano Jazz Bar
Harris club celebrates it's 16th birthday and Pawel Kaczmarczyk will bring some funk groove to the stage.
13-14.04 Malgorzata Moskiewicz in PIEC'Art.
A vocal jazz quartet, I admit I never heard the leader so far but the rhythm section is made of young talent's of Krakow's scene in persons of M.Pałka - p, M.Parker - db and G.Pałka - dr.


Tek'it Audio make innovative audio software instruments and effects for creative producers from the bedroom enthusiast to professionals.
Our company motto, "Create, Play." is written in the DNA of our products, they are made to play whether in the studio or live.
We are musicians first. It means we design and create softwares that we use. Softwares which carry out their tasks, assist you in being creative, simply.


Showing 491–495 of 495 results
These 16 arrangements are from Verlene's Wishing You Well CD, which is a collection of Celtic and other soothing tunes that she plays on her double-strung harp for patients, visitors, and staff at Stanford Hospital and Clinics. This edition of the book is for single row lever or pedal harp. There is also a double-strung harp edition available for those who have double-strung harps of 29 or more strings per side. 66 pages
ADVANCED PEDAL HARP. A beautiful pedal harp solo in the style of Spanish classical guitar. ADVANCED PEDAL HARP Newly edited beautiful work in the style of classical guitar. Very effective for harp. Formerly published in Solos For The Harp Player. A beautiful intermediate/advanced pedal harp solo in the style of Spanish classical guitar.


Hark! The Herald Carol Concert
Tickets on sale 10am, Monday 16 September.
Hark! The Herald is a memorable evening of traditional Christmas carols and seasonal music in the magical setting of Ely Cathedral.
The magniﬁcent 30ft Christmas tree and soaring voices of the Cathedral Choir, the Ely Cathedral Octagon Singers and The Ely Imps, supported by Cambridge based brass ensemble Prime Brass, creates a very special Christmas event for family and friends.
Tickets: £22, £18 and £12.
Interval champagne and canapé reception tickets: £12.50.


Sunday, October 14, 2018 at 4:00 pm – St. Luke Catholic Church, McLean, VA
Join The Reston Chorale as we highlight 900 years of music composed by women — from the early works of Hildegard of Bingen (the first composer ever published) to works by Lili Boulanger and contemporary compositions of Lee Ann Dresser and Moira Smiley. The concert will also include a Community Sing with Special Guest Ysaye Barnwell, composer and former member of Sweet Honey in the Rock. A reception will follow the performance.
Discount tickets will be available online through 11:59 pm on Saturday, October 13, 2018. Full price tickets will be available online and at the door on Sunday, October 14. Free parking.
For further information, contact The Reston Chorale by email at email@example.com.


Looking to learn the piano but don’t have the time or money for lessons? Look no further than the Piano for all app, the digital music app that makes learning accessible and enjoyable for everyone.
Whether you’re a beginner or an advanced player, Piano for all has something for you. With its extensive lessons and innovative tools, you can quickly learn popular keyboard pieces in no time.
One of the best things about Piano for all is that it offers online piano lessons that you can take from the comfort of your own house. With its user-friendly interface and interactive learning methods, Piano for all makes practicing the piano easy and fun.
With Piano for all, you can be concerned about missing a lesson or lacking time to practice. You can access the course whenever and wherever you want, whether you’re traveling or in the house.
If you’re searching for a piano app that offers various functions and tools to assist you master the piano, Piano for all is certainly worth trying. With the app’s intuitive design, top-notch sound and visuals, and extensive lessons, Piano for all is sure to assist you in reach your music goals.
Whether you’re passionate about learning classical music, jazz, or pop, Piano for all has instruction and songs to suit your preferences. With the app’s collection of more than 500 audio and video lessons, you’ll never ever run out of material to study.
The app also includes a virtual instructor that helps you through each lesson step-by-step. It helps make the learning experience more interactive and engaging. The app also provides a range of features and resources that enable you to practice and improve your skills, including a virtual metronome and a variety of play-along tracks.
Whether you’re a beginner or an experienced pianist, Piano for all will help you learn the piano at your own pace. Through its intuitive interface and comprehensive curriculum, the app offers a fun and engaging way to improve your piano skills in the convenience of your own space.
If you’re looking to start playing the piano, think about downloading this app today. Its affordable pricing and flexible features, this app is perfect for anyone looking to learn how to play the piano online.


Compare hundreds of teachers based on the criteria that matter to you, including background checks, age and experience.
When you've found the perfect match, schedule your lessons online using the teacher's real-time availability.
Your teacher will welcome you with a personalized curriculum to meet your specific goals and you'll be able to manage your entire schedule through our free online account.
No matter where you live, chances are we can introduce you to an amazing teacher in your neighborhood. You can take lessons in the privacy of your own home or at your teacher's location.
What if your dream teacher is on the other side of the country? No problem. You can meet with your teacher online using a webcam on your computer.
Classical, Jazz, Big Band, Concert Band, Orchestral, Brass Quintet/Choir, Reggae/Ska, Pop/Rock Cover Band Music, Dixieland Jazz, Military and Bugle Calls
I have been playing trumpet since the 4th grade, about 20 years now. I received my Bachelor in Trumpet Performance from the Peabody Conservatory and my Master of Music degree in Trumpet Performance from the Bob Cole Conservatory at California State Long Beach. I have performed all over the United States and abroad and have performed a wide range of musical styles in a variety of musical settings; from classical solos, to contemporary chamber orchestras, to big bands, to top 40's wedding casual bands, to reggae, ska, rock, Latin, Persian, and more still. Whether you just want to learn a bugle call for boy scouts or want to prepare for an audition, competition, or recital, I will provide a comprehensive learning experience for the trumpet. I could take you from a beginner to playing for a living if you would like.
Playing a brass instrument is a physically demanding, high concentration activity that can lead to immense joy and fulfillment when approached correctly. I offer all my students practical and musical ways to master the trumpet that will lead to life long enjoyment. I will equip you with fundamentals for healthy practicing and can offer lessons in several styles, including jazz, classical, and salsa. Additionally, I have helped students prepare for school, district, and regional auditions.
I can teach beginning level trumpet levels to about a 2nd year level. We will work on tone, and expanding your register. We will learn and review basic scales, arpeggios, and technique. I also incorporate music theory, conducting, and music composition on the side depending on the student's interest. I look for music that interests the student.
Learning a wind instrument? Interested in trying trumpet out?
Come to my home studio or have an at home lesson where you'll learn anywhere from the basics of wind technique to the most advanced pieces of classical, jazz, or pop music!
Want to get started on the trumpet? I can help!
Take your voice to the next level. Download free video tutorials to start singing like the star you are!
Getting Started with Music Lessons guides you through selecting a teacher & preparing for your first lesson.
Kickstart your guitar playing. Download free video tutorials to learn about chord progressions, strumming, and more!
Our online tools make booking, managing your schedule and paying for lessons easy and hassle-free.
Easily search and compare teachers in your area, including past student reviews and background checks.
If you're not completely satisfied, we'll help you find a new teacher or refund any unused lesson credits.
Take trumpet lessons in your city and learn how to become a wonderful trumpet player! While you may find many books on trumpet playing, this instrument can be really difficult to learn on your own. Your playing can be readily advanced by seeking a skilled and professional trumpet teacher who can show you proper trumpet techniques such as proper breathing, fingering, and lip exercises designed to strengthen facial muscles. With our trumpet instructors, you are guaranteed to learn both basic and advanced trumpet techniques. Furthermore, since we know that it always helps to have a stress-free atmosphere when you study music, which our instructors provide.
Our trumpet lessons are proven to make your learning process simple and relaxing, yet challenging. In addition, our lessons are theory-based and therefore offer a better overall comprehension of the instrument for the student. Our instructors can also provide a variety of tips including how to buy, tune and clean your trumpet. If you’d like to peruse your musical passion for playing the trumpet then enroll in our trumpet lessons today!


Since the beginning of our very first rehearsal room, our goal has always been to build a safe and affordable place for musicians to make music on the Central Coast. We strive to make every project the best that it can be at the best possible price. We keep our rates as affordable as possible because being musicians ourselves, we know what the struggle is like!
The recording studio consists of four isolated rooms all with visual contact which enables us to easily record large bands together live. We have a spacious live room (19x23x12), a medium-sized isolation room (5x9x12), a small isolation room (5.5x4.5x10), and a medium-sized tracking control room (9x17x10).View studio layout
The studio is also equipped with a large selection of vintage and modern microphones, preamps, instruments, and amplifiers.View equipment list
We have a spacious live room at 19x23x12 which has a fantastic natural reverb. Here we like to track drums with as much natural ambience as possible. During full band live tracking, guitar and bass players can also be in this room with their amps being recorded in our isolation rooms. This makes microphone bleed a non-issue.
Our tracking control room is medium sized at 9x17x10. Here we can control all of our microphone preamps and outboard gear. The control room can also be used as an isolation room or to house guitar/bass players while recording one or multiple guitar amps in the live room or isolation booths. It is also possible to control the computer in the control room from the live room.
Our vocal booth is medium sized at 5x9x12. This room is very dead acoustically and great for vocal, acoustic, or voice over recording where natural ambience is not wanted.
Our small isolation booth is 5.5x4.5x10. It is great for vocalists or horn players as well as guitar amps because of its easy access.
Also wired into the control room is our vintage synth and drum machine room (12x23x12), which can be used as a production room or additional isolation room for the recording studio. We have a large collection of vintage synthesizers and drum machines (see equipment list) that are available in our productions.
In addition to our 4 dedicated recording rooms, we have 2 monthly rental engineer suites (9.5x19x10) which double as extra isolation rooms as they are wired into the tracking control room.
$250 / 3 hours
$325 / 4 hours
$400 / 5 hours
$475 / 6 hours
$550 / 7 hours
$650 / 8–10 hours (lockout day session — equipment can be left in the studio with all recording gear settings left untouched)


We don‘t know Destiny Dance Studio‘s story by heart. Message them to get to know more about their business.
Destiny Dance Studio Reviews
Share your thoughts with other couples
Reviewed On 8/14/2020 by Krystin B
I can not say enough good things about this studio and especially our instructor Adie. My husband and I, who had zero dance experience, took private lessons with her for our wedding. She choreographed our first dance that was beautiful and exci...
ting! She is the BEST! Every lesson we learned something new and always had so much fun! Adie is incredibly supportive, kind, patient and positive. We are truly blessed to have had her guidance through this process. I promise, you won't regret working with Destiny Dance Studio. Adie, Danny and Kim are all wonderful and talented!
Reviewed On 1/31/2013 by Sara S
My husband and I wanted our first dance to be special and since I have two left feet I knew I needed help in making it special! When a Groupon came around for Destiny Dance and two lessons I knew we needed to buy it. We knew what song we were...
going to dance to and were able to go in on lesson one and get started. We ended up buying two more lessons for a total of four lessons (one lesson a week for a month before our wedding). But by the beginning of week 3 we were customizing our dance to make it uniquely us! And then we practiced and practiced both in studio and at home. The day of the wedding I was nervous to debut our dance, but it went off without a hitch! Everyone was in awe as we did our opening sequence and then by the time we did our closing spins and dips everyone was clapping and cheering! It was not only enjoyable for us to do but for everyone who watched! I cannot thank Destiny Dance Studio enough for helping us get ready for this “performance.” I did not want to get up there in front of 200 people and act like a fool, but after our four lessons we were confident that it would be amazing and it was!! I continue to watch the video over again and love watching everyone’s faces as they anticipate what we were going to do next! The staff at Destiny Dance was very personable and helped you feel confident even when you felt like a fool and was able to give us the training we needed to be successful in our dancing. They gave us the right tips and advice to really help us improve and at the end of each session they would go over what you learned, what you need to work on, and the goals for the next lesson. Truly a great experience and worth the money!
Reviewed On 11/07/2012 by Alison C
We purchased a package of 5 dance lessons for our first dance at our wedding. Neither of us had danced before, and Danny was more than willing to accept the challenge! He made it fun, and we really learned a lot. I would recommend Danny and ...
Destiny Dance to anyone who wants to spice up the usual "First Dance"!
Reviewed On 10/22/2012 by Laurie P
My husband and I are both very shy, terrible dancers. We decided to take dance lessons in an effort to feel comfortable for our first dance. We did not want anything flashy, just something presentable.
We worked with Danny and had the best...
time! We took private lessons, and felt a million times more confident for our dance in front of our family and friends. My Dad told me during our dance that he could tell that we had practiced.
Our mantra during the lessons - miracles do happen!


Master salsa timing and musicianship with this interactive app, where YOU are the band leader! For dancers, musicians, and instructors!
* Practice your dance timing at a tempo of YOUR choice!
* Combine instruments to your liking and choose their patterns!
* Use as a metronome and practice your groove with an ensemble!
* As an instructor, hold your dance classes anywhere!
Instruments: Clave, Piano, Congas, Timbales, Bongos, Bass, Maracas, Guiro, Cowbell and an Instructor
* 20 different piano patterns, 20 bass patterns, >29 percussion patterns including Tumbao, Guaguancó, Cáscara, Rumba, Caballo, Danzón and more
* Automatic key change setting for practicing in all keys!
* Instructor voice counting the beats of your choosing
* Control the tempo (BPM), musical key and the individual volume of each instrument
App Store reviews are very helpful. If you think Salsa Rhythm is great, would you mind taking a minute to write a review, or update an old one? It's greatly appreciated.
If you have any problems or questions you can email us through the support page in the app (or directly at email@example.com), thanks!
Bug fixes and internal improvements
Ratings and Reviews
I’m a dance teacher with a music degree.
This is the best and most adaptable tool I’ve found for helping my students hear salsa music.
Being able to continually adjust the tempo and fade parts in and out helps people find things.
Because hearing something is an active process- if you don’t know where to listen or what to look for, you won’t hear it, even if it’s clear for everyone else.
A great app for learning or teaching musicality!
I have been dancing for about 15 years, and definitely wish I had this when I was starting off! Salsa music can be very intimidating and confusing for beginners, and this app is a nice, graphical way for both beginners and more advanced dancers to learn about the instruments of salsa and the different beats involved in the music.
My one gripe is that the interface could be a little more intuitive - case in point I turned off the visual counting for the beat and cannot figure out how to turn it back on!
I have been using this app since it first appeared in the app store. Thank you for including a minor tone, let's have some more. The update is great and I love the changes you made to the user interface. This app has tremendous potential for even greater features. Keep up the hard work. I would love to be able to record what the app is playing along with my guitar riffs.
Developer Response ,
Thanks so much for your kind review, I’m very glad that you like it! Thanks for the suggestions, too. I’ve got some exciting things on the roadmap, and one of those is adding a service where you could route Salsa Rhythm audio to your favorite multitrack recorder. In the meantime, if other ideas strike you, please let me know at firstname.lastname@example.org. Stay tuned!
Data Not Collected
The developer does not collect any data from this app.
Privacy practices may vary, for example, based on the features you use or your age. Learn More
- District One Mobile, LLC
- 21 MB
- Requires iOS 11.2 or later.
- Requires iPadOS 11.2 or later.
- iPod touch
- Requires iOS 11.2 or later.
- Requires macOS 11.0 or later and a Mac with Apple M1 chip.
English, Dutch, French, German, Italian, Japanese, Korean, Portuguese, Russian, Simplified Chinese, Spanish, Swedish, Thai, Turkish
- Age Rating
- © 2014, District One Mobile, LLC
With Family Sharing set up, up to six family members can use this app.


Ludwig Aluminum Marching Bass Drum Mallets
Ludwig Marching Bass Drum Mallets With Aluminum ShaftDimensional stability Mallets feature the high density felt balls on bass mallets to insure dimensional stability.
$30.99 - $43.99
Ludwig Payson Felt Timpani Mallets
The Ludwig line of concert mallets is complete, and includes the incomparable Payson models which are mallets made to the specifications of acclaimed percussionist Al Payson. Sold in pairs.


Tuesday, October 22, 2019 8:00 PM
Oakville Centre, AEG Liebherr Auditorium
$75 Regular Seating
$68 Big Ticket Members
$64 Big Ticket Plus Members
VIP Private Meet and Greet - Photo op with Max, and buyer can bring one personal item for personalized autographs: $125
A truly interactive experience with the drummer of Bruce Springsteen’s E St. Band! Max Weinberg invites the audience to create the set list, in real time, that he and his crack four piece group will play. Performing songs from the glory days of rock and roll, the audience chooses from a video menu of over 200 songs – everything from the Beatles to the Stones to Bruce and The E Street Band’s biggest hits – and hear the group play ‘em the way they want to hear them played!


A fun instrument that anyone can play! Just hum into the kazoo to make a sound with your throat (rather than your mouth). The resulting sound varies in pitch and loudness with the player's humming. Don't blow, just hum. A fun accompaniment for piano or guitar, and a fun toy as well. Set of 4 kazoos in assorted colors.


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Printable press wel printable wedding stationery affordable wedding invitations.
Disclaimer: All content in this website, including audio and video is generated from YouTube using the API provided by them (in this case is Google). We never save audio and video files in our hosting server. If you owner of file and want to remove some of audio or video from this website, do not hesitate to contact us. We will remove as soon as possible. But we can't erase video in YouTube because we not owner of those file.


Request your favourite vinyl!
Is there any better sound than hearing your favourite song on vinyl? We don’t think so!
Every morning Phil sets up the studio turntable to play a listener’s favourite song on vinyl!
Simply enter your details below and tell us ‘what’s your favourite vinyl and why’, and Phil will search the WSFM record library to feature it on air.


Bring the music with you with the Treble Clef wooden necklace close to your heart! This quality accessory is crafted by hand from the finest quality of walnut and maple wood in the Netherlands.
Wooden Necklace – Treble Clef – Walnut & Maple
Ordered before 17:00, delivered tomorrow
Only 5 left in stock
You may also like…
For all music lovers out there, add this unique Treble Clef wooden necklace to your accessory collection! Handmade from walnut wood with an inlay of light maple wood on a brown faux suede cord. It has a soft and pleasant feel due to the natural materials.
This quality accessory is suitable for both men and women, and fits all types of styles. The necklace in the shape of a treble clef is the ideal gift for musicians or fellow music lovers.


original 4 string P style pickup
This is a faithful reproduction of an original P style pickup. A single
coil pickup that delivers all the vintage tone you need. Raw pickup without
*now available with Alnico III (A3) Magnets
Alnico III magnets differ from Alnico V in that they are warmer with a softer character. Think of them like a 60’s J style sound taken even further down the warm and fat path. Alnico V by contrast is brighter, cleaner and punchier, and will have a more wiry, stringy character. As another example, we’d recommend A3 for fretless or a fat 60’s Jaco type thing and A5 is great for a modern slap type thing or an R and B sound.


KUSTOM SIENNA 30
The Sienna 30 is a 30-watt combo amplifier with a 10-inch speaker that is specifically designed to reproduce and enhance the natural sound of your guitar or other acoustic instrument. The approach is more “hi-fi” in nature. One ¼-inch instrument input plus a ¼-inch microphone input add flexibility for interfacing with the amp. You’ll also find analog Reverb and Chorus effects to enhance your sound. EQ controls include a Feedback filter – very handy for live gigs. The Sienna 30 lets you fine-tune your sound, and then amplify it in a way that brings out its best qualities.


Score, solo flute, solo oboe, solo trumpet, solo harpsichord, solo violin,strings 2,2,3,3,2. Trpts I,II trans. Trpts in D:transp. Score 1st movement , 2,2,2,2 — 2,2,0,0 timp, strings 8,11,6,8 cello and bass printed together, no solo piano.
Score, 1,2,2,2 — 2,2,0,0 timp, flute part missing, no piano part, bass plays with cello. Score, 2,2,2,2 — 2,2,0,0 timp, strings 4,4,4,4 cello and bass printed together. Clar,horn,trpt original and trans. Score, 2. Score, 2,2,2,2 — 2,2,0,0 timp, strings 9,8,4,4,2 clarinets in A, 2nd also Bb, horns in A, trumpets in D. Score, 2,2,2,2 — 2,2,0,0 timp strings 10,13,6,8 cello and bass printed together Trumpet I in F.
The spine remains undamaged. Most items will be dispatched the same or the next working day. Seller Inventory mon More information about this seller Contact this seller 2. Published by Dover Publications About this Item: Dover Publications, Condition: Good. Connecting readers with great books since Customer service is our top priority!.
More information about this seller Contact this seller 3. More information about this seller Contact this seller 4. Published by Alfred Music. About this Item: Alfred Music.
The Violin (Eastman Studies in Music) - Library
Light to moderate shelf wear. Clean pages. Seller Inventory More information about this seller Contact this seller 5. Seller Inventory U More information about this seller Contact this seller 6. Published by Dover Publications. About this Item: Dover Publications. Seller Inventory ZZ2. More information about this seller Contact this seller 7.
About this Item: Condition: VeryGood. The case show limited signs of wear, as may the cover art, liner notes and inclusions. A well-cared-for CD that has been listened to, but remains in great condition and plays perfectly. Tracking number issued for every order. More information about this seller Contact this seller 8. Satisfaction Guaranteed!
Book is in Used-Good condition.
Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain limited notes and highlighting. More information about this seller Contact this seller 9.
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Condition: Fine. More information about this seller Contact this seller Published by Lauren Keiser Music Publishing. Seller Inventory ZXZ1.
Published by Enoch pn About this Item: Enoch pn , Published by Lauren Keiser Music Publishing Seller Inventory X Grauer Orig. Platten-Nummer: D. Published by Leipzig Peters Nr From: Musikantiquariat G. Kaiser - Schumann Berlin, Germany. About this Item: Leipzig Peters Nr, Zustand: sauber und gut erhalten.
- Water Supply Systems!
- The Dream Continues: Thoughts From an American Journey.
- Boosey & Hawkes Sheet Music Shop: Classical and Educational Sheet Music and Scores?
- Myringoplasty instrument set.
- Red Dirt Review Volume 2?
- Havanaise, Used - AbeBooks!
Seller Inventory Best. From: partitions-anciennes Blois, France.
Seller Inventory m Published by Serenissima Music, Inc. About this Item: Serenissima Music, Inc. Clean and tight. No markings. Separate violin part has markings. Ships in a box.
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