Selecting the perfect wedding music is not an easy task. This is especially true for that once in a lifetime moment where the newlyweds join each other in the center of the dance floor to share their first dance as husband and wife. The first dance song should be a reflection of the personalities of both the bride and groom. Sometimes a fun song fits while other couples prefer slower, more passionate ballads. In my opinion, the best wedding first dance songs that I have heard:

Eros Ramazzoti & Anastacia – “I belong to you”

A passionate, Latin/English ballad that will still the room.  Anastacia’s unmistakable voice is captivating to say the least and you can simply feel the connection in their harmonies.  A guaranteed winner that is surprisingly not overplayed at weddings.

Renee Olstead -”A Love That Will Last”

Reminiscent of a romantic stroll in the park, this song perfectly spotlights newlyweds in love.  Forget about the guests, and just enjoy each others company for the only three and a half minutes you will be able to all night!

Celine Dion – “A New Day” (Slow version)

You may think you may have listened to this song a million times, but I guarantee that you haven’t truly heard it.  The visual connection of a couple in love backed by the powerful lyrics and majestic vocals of Celine Dion are guaranteed to captivate any audience.  Like I said, even if guest have heard this song a million times, this will be their first.

Alicia Keys – “If I Ain’t Got You”

With so many commercial “fillers” out there it is a song like this is a rare gem in the pop world. Simply listen to the lyrics and you’ll understand Alicia gets it. Honest, vibrant vocals backed by elegant piano are ingredients for first dance success.

Phil Collins – “Groovy Kind of Love”

You simply cannot go wrong with Phill Collins. He sings from the heart and his captivating melodies have been the backbone of countless screen love scenes and passionate moments. It will instantly just puts a smile on your face when you see a couple sharing their first dance to this song.

U2 – “All I Want is You”

A love ballad with a silky rock guitar theme sung by Bono? Yes please. Freeze time and turn your fist dance into a big screen masterpiece with this enduring U2 ballad. This is simply one of those songs that connects with everyone that listens to it: bride, groom, kids, grandma and even the awkwardly drunk uncle.

Julio Iglesias – “Crazy”

Less is definitely more sometimes. Julio’s renowned velvety, passionate voice is sometimes all you need to create and unforgettable moment. This is a classic song that will never get old when played it the right setting. Add a live saxophone to the mix and your guest will melt.

Il Divo- “The Promise”

Is it stereotypical to assume that every Spanish ballad gets it right each and every time? Yeah, I didn’t think so. Describing this love song is almost like describing a chocolate dessert: rich, velvety, alluring and unforgettable. Sometimes the language doesn’t matter when you can hear the meaning in the vocals. With the added touch of a live wedding violinist from Digital Soul, guests will be talking about your beautiful first dance for a long time to come.

Music is extremely subjective, so I hope this small list offers enough diversity to appeal all types of couples, whether the wedding first dance song calls for something fun, something classic, or something international.

Whether you are looking to book studio time, or just putting a home studio together, there are certain studio microphones that can really help to achieve a good sounding recording. Here are five microphones (for all budgets) to consider when building your arsenal:

$ = $0 -$249
$$ = $250 – $499
$$$ = $500 – $999
$$$$ = $1000 – $1999
$$$$$ = $2000+
Pricing Guide: Based On MSRP

• Shure SM57 – $ Considered to be the “workhorse” of all microphones, this mic certainly continues to live up to it’s reputation. This mic is ideal for recording and live sound reinforcement. The dynamic capsule and cardioid pickup pattern are extremely effective at isolating the main sound source. From vocals to guitars, to drums, to woodwinds, the applications are virtually endless.
  
• Audio Technica AT4040 – $$ The AT4040 is arguably the best bang for your buck when it comes to large-diaphragm condenser microphones.  It has a cardioid pattern, and gives you options of an 80 Hz low end roll-off, and a 10 dB pad. This mic will deliver a precise reproduction, and sounds exceptional on vocals, acoustic guitar and strings, and even room mics when paired together.
  
• Neumann U87 – $$$$$ One of the most widely used microphones among professional recording studios, the U87 has become the classic studio mic for vocalists. It has a large dual-diapgragm capsule with 3 switchable patterns; omnidirectional, cardioid, and figure-8. The U87 can be used as a main microphone for orchestral recordings, a spot mic for single instruments, and extensively as a vocal mic for all types of music and speech. You’re guaranteed to find some of your favorite singers using this mic on their records.
  
• Shure SM81 – $$ Another quality mic from Shure, the SM81 is a high quality small diaphragm condenser with a unidirectional pattern. This mic captures sound with detail and precision. It’s perfect for overhead cymbal applications, and recording choirs & acoustic instruments, especially piano and guitar.
  
• Sennheiser MD421 – $$$ This mic has become one of Sennheiser’s most popular dynamic microphones. It’s large diaphragm dynamic capsule gives it the ability to efficiently handle high sound pressure levels, making it a superb choice for guitar amps and drums. It has a cardioid pickup pattern and five-position rolloff switch, also making it a good choice for group vocals and broadcasting.

Regardless of price or application, any or all of these microphones will prove to be an invaluable tool as part of your audio recording studio.

Joshua Black

Well, here we go…finally about to tackle the task of miking up a guitar amp so you can produce some wicked tones for your guitar recording. Here we will be discussing a dual mic technique using a dynamic and condenser microphone. If you only have access to one mic, use a dynamic; however, by using the two microphones, we will really be able to capture a full range guitar tone for your guitar recording.

Wherever possible, set up the guitar amp in a separate room to your studio or control room. Try to put it somewhere as isolated from your guitar recording setup as possible. If you have a vocal booth or separate room, use that. If you have the capability, patch the guitar into a wall panel, and then to the amp. Or, if you’re at home, run a long enough cable from your guitar recording setup into the separate room to your amp. Set up the amp as usual, and dial in your preferred settings. Remember that if you are using a Tube Amp you need to let it warm up for a good hour before you start recording or the tonality of the sound may change as the valves change in temperature. Don’t be afraid to JUICE your volume!! You will capture even sweeter valve tones if you push the tubes achieving the best possible guitar recording sound.

Condenser Mic Placement

Using a mic stand, place a condenser mic about 4 to 6 inches away from the speaker so that the capsule is facing toward the cone. If your cab has two or more speakers then concentrate on just one cone. Try not to place the mic in between speakers as the sound will usually be weaker.

With the condenser mic plugged into your interface, mixer, or preamp, and the phantom power turned on, arm your track and sound check your guitar through your studio monitors. As discussed previously in Guitar Recording Tips: Stay out of The Red!!, be sure that your meter is leveling out somewhere around -5 or -6dB. This next part might require some running back and forth depending on your guitar recording setup. Make slight adjustments until you are confident it is picking up the best possible sound. Each time you make a move, you need to go back to reference it on your studio monitors. It should sound airy and open; keep in mind we’ll be adding the dynamic mic to fill in the gaps for your guitar recording. When you are happy with the sound, you’re ready to move onto the dynamic microphone.

Dynamic Mic Placement

The dynamic mic will add more depth and grit to the sound. When placing the mic, ensure that you don’t knock the condenser accidentally. Get the dynamic mic right up next to the grill. Place the mic either strait on, or off, axis and pointing towards the centre of the speaker. The sweet spot using a dynamic microphone will usually be right outside the center where the cone meets the driver of the speaker. Once again, go back to your guitar recording rig and with only the dynamic mic record armed, check your levels, and reference the sound in your studio monitors. Adjust the mic placement as before until you are happy with the sound. Now bring the condenser into your guitar recording mix…that’s thick and juicy!!

The last thing to be aware of is potential phasing between the microphones. It could ruin your guitar recording if you track your guitars and you forget to address any phasing that can occur. A quick fix is to apply the 3 to 1 rule. For example: If your dynamic capsule is one inch away from the speaker, readjust the condenser so that the capsule is 3 inches from the speaker AND 3 inches from the dynamic capsule. Always keep a 3:1 ratio when measuring out distance to correct a phase issue.

Joshua Black

For those of you aspiring musicians that have been tuning in to some of my practicing tips posts, I have been given a great and valuable article that I’d like to share with you. It is written by Dr. Gary de Sesa about how to maximize the memorization process of music for performance. Although this article was originally written by a great classical pianist, the process explained within can and should be applied to any instrument, in any style of music.

Memorizing Music For Performance – By Gary de Sesa, Ph.D

Memory is probably the last thing many performers think about before completely learning a work, and the only thing they think about just before performing it. The “final touch” on a piece for these individuals is usually the memorization. So many times I hear students and colleagues say, “Now all I have to do is memorize it.” Of course, one does not hear some of the silent thoughts of a performer’s mind before presenting a piece publicly such as, “I hope I don’t have any memory slips”, or, “I hope I remember the spot where it modulates…and how do I get out of it if I do forget?” Doubts such as these are normal enough I suppose, and account for much of the nervousness a performer experiences before a concert. But sometimes a performer will carry these doubts into his performance, and will begin asking himself while he is playing, “Do I really know what is coming next?” This is dangerous because the mental process of questioning is enough to cause the memory lapse the performer is trying to avoid.

The preoccupation with memory before a concert is understandable to anyone who has performed in public and I think it is safe to say that most performers consider good memory during a concert, vital to the success of that concert. There are those who say that memory loss doesn’t mean anything – it’s the music that counts. While to some degree this is true, this attitude neglects an important half of a concert performance – the listeners. It is true that any performer can have a memory lapse, and this may in no way reflect his artistry. But the fact still remains, whether justified or not, that the audience as a whole is disturbed by this lapse and therefore the musical message is disturbed. Furthermore, the performer is disturbed, which causes compounded anxiety and increases the possibility of even more memory and musical problems. Performers spend many, many hours practicing to secure the memorization of a piece of music, and there are various books and articles describing how one should go about this process of memorization. Many of the suggestions are similar, some are a bit more unusual in nature. For instance, in an article by Wendell Keeney entitled, “Memorizing and Memory Security,” it is suggested that the performer practice memorizing by, “playing left hand notes with the right hand, and right hand notes with the left hand…cross hands and play both parts with hands reversed. This tests note-memory apart from finger-memory.” As an example, he uses the first Invention of Bach, which is all well and good, but I find it hard to imagine anyone practicing the Liszt B minor Sonata in this fashion!

At this point I would like to offer six of my own suggestions which I consider important aids in the process of memorization. These suggestions are based on my personal experience as a solo performer and teacher.

1. As I said in the beginning, memory is probably the last thing many performers think about before completely learning a work. I believe you should start to memorize a piece, or parts of a piece, as soon as possible or at least work on it with the idea of memorizing it. Think more of what you are doing instead of letting your finger automatically respond to what your eyes see printed. If you begin memorizing early, your mind’s memory “muscle” will be strengthened instead of later relying mostly on your fingers’ memory “muscles.”

2. After going through a piece once or twice, for the idea and general feeling, learn the notes from the very beginning with all the composer’s other markings – dynamics, phrasings, accents, staccato marks, etc., even when practicing at extremely slow speeds. If you practice just for the notes, you are more likely to do larger sections at a time, less frequently. On the other hand, if you practice trying to do all the things the composer has written, chances are you will do smaller sections with more repetition, in order to solidify all the various aspects of the printed page. Practicing in smaller sections with more repetition is already an aid to memorizing and you’ll be memorizing the music, not just the notes. Learning the notes as a separate function to learning the dynamics is almost a similar process, although considerably less disastrous, to learning the notes without any sharps or flats, and then adding the accidentals afterward as a separate function.

3. When practicing small sections with many repetitions as I have just described, it is a good idea to look away from the music and try to memorize the spot you have repeating. You may be pleasantly surprised that this spot, although new, has already been memorized through concentration and repetition. Concentration on the music and repetition of the notes. When looking away from the music, you should alternate between looking away from the instrument (if applicable) and looking directly at it. This will strengthen the aural and visual process of memorization.

4. Just as it is a good idea, in the first stages of learning a piece, to look away and check if a passage or section is memorized, it is also good in the latter stages of learning, to look back at the music to check that the passage or section memorized has remained an accurate representation of the printed page.

5. It is important when practicing a piece of music, not to constantly start from the beginning and work toward the end. Difficult sections, in terms of technique and memory, should be practiced first. It has been shown through experiments by Woodworth and Schlosberg, that “inhibitions generated in the process of memorizing poetry, numbers, or music, hold back responses in spite of forward associations making the middle of the work more difficult to master than either the beginning or the end.” Therefore, it is important that a performer be comfortable starting from any section of a piece. This, in case of a memory lapse, may make the difference between being able to work out of the lapse gracefully, or having to make an obvious start from the beginning, with the constant worry of whether you will get through that spot or not the next time.

6. I suggest three things a performer should do before a concert as an aid to memorization. First, study the music away from the instrument – look at where the modulations are, and the key relationships of repeated sections. Understand the structure and harmony. Sing it to yourself, or out loud, and try to become one with the music. Secondly, if you fell the need to play through a work, try playing it at an extremely slow speed – one that enables you to concentrate on each note. If you can memorize it in slow motion, it is securely memorized. The third suggestion, which I believe to be the most important, is to practice performing! Broadway shows constantly go out on the road before opening in New York, astronauts go through one trial run after another before that actual launch into space, and athletic teams play exhibition games before the season starts. Musicians too, need to try out their pieces several times before a vital performance. Practice audiences can be made up of other performers, students, groups of friends, or family. The more times a piece is performed successfully, the more likelihood there is of a confident, smooth performance. In conjunction with this, it is important that the performer simulate, as nearly as possible, the exact conditions of a concert (lighting, applause, bowing, the order of the program, intermission, etc.) These practice concerts should be recorded, so that they can later be evaluated by the performer.

The recording can be a handy aid not only to memorization, but general performance as well. Once you have a piece learned, it is a good idea to record it. The recording can detect the smallest details, and you can sit back and just listen to yourself play, without playing. We sometimes get so involved with the technical aspects of playing, that we don’t listen as well. Hearing yourself back on a recording relieves you of this so that you may give your one-hundred percent attention to listening. This of course, should not become a substitute for listening to yourself while playing, as the ability to listen while playing and adjust accordingly is a must in achieving artistry.

Naturally, each performer has his or her own way of preparing for a performance and as with all aspects of memory and performance, the formula must be an individual one, one which the individual performer feels will best him or her, and in turn, best serve the music.

The reason a performer spends so many hours each day in preparing his repertoire, is so that when the performance day arrives, he can perform each piece under concert conditions to the best of his ability. After all the hours of study, practice and devotion, a performer walks out on stage to present the music – and as I and my comrades in music know, a little good luck doesn’t hurt.

SHAZAM

Ever been in your car or in a bar, club, lounge or restaurant, and heard a song you really liked, but didn’t know what it was called or who the artist was? Stop wondering and GET THIS APP! With the press of a button, and within seconds, Shazam listens to the music, identifies it, saves it in a log of tagged songs, and gives you the option to purchase it immediately on the iTunes store. You can share your tags with Twitter and Facebook friends, as well as access the Shazam music charts to find out what the latest hot songs are. Brilliant! I use it ALL THE TIME, and the best part is that it’s free. You can also download the Shazam Encore app for a price, which adds some other features and doesn’t limit the amount of tagged songs in your library.

PANDORA RADIO

I love this app! Especially when at the gym. This is a free app that plays the music YOU WANT to hear continuously, and builds you custom internet music stations based on songs you like or don’t like. It has a very user-friendly display that allows you to quickly search artists, songs and genres,  giving you the ability to create and revisit your own stations. I don’t even bother listing to my own iPod anymore. Pandora Radio is what’s up!

HT PROFESSIONAL RECORDER

Every good Songwriter, Musician or Poet knows that inspiration doesn’t always come at the most convenient time! That’s why I have HT Professional Recorder. This is probably the MOST useful app for me and allows me the quickest, easiest way to get my inspiration into tangible form. It  is a premium audio recorder that also organizes files into a very user-friendly library. In addition to the functions I use on a regular basis, it has email, wifi options and several different modes that allow the user to capture sound from varying distances (e.g. a lecture hall or concert). Definitely one of my favorites!

CLEARTUNE

This is an easy to use, yet comprehensive, all-in-one chromatic tuner that utilizes the iPhone’s built-in microphone. It has support for custom temperaments, notations such as solfège, transposition and adjustable calibration. Any instrument capable of sustaining a tone will allow ClearTune’s extremely responsive fine-tuning meter to do it’s job perfectly, not to mention with style.

RHYMETIME

Songwriters and Poets: Looking for that word or phrase to rhyme with what you’ve already got? Get this! Easy, fast, and will provide you with unending direction for your own creativity.

THUMBJAM

The best, thorough description for ThumbJam can be found on their website, so I’ve included it below:

Even if you’ve only played air guitar, ThumbJam lets you sound like a pro. Pick an instrument and jam — with all the scales to choose from you’ll never hit a wrong note. The high quality instrument samples will make you sound like you just skipped years of music lessons.

For the performing musician, this app is awesome for soloing on an instrument you didn’t bring along. Play in any key, any style — go from a string ensemble to a wailing guitar. ThumbJam was developed and tested by musicians to feel and sound like a real instrument.

ThumbJam makes use of tilt and shake to add vibrato, tremolo, note bends, and volume swells for more realistic and expressive results. It supports up to five simultaneous touches and up to 16 voice polyphony. Delay and lush stereo reverb add depth to the sound. Put on your headphones or plug in to your home stereo and prepare to be blown away.

Build your own loops from the ground up or import your favorites and jam from there. Layer as many loops as you want, with different instruments for each. Export your loops as audio files or Ardour and Mixbus sessions.

Want to jam with your friends? ThumbJam lets you broadcast tempo, key, and scale to other nearby devices via Bluetooth so you can play together live.

The app includes a huge variety of scales, from western to eastern. Save your favorites for quick access. You can even import new scales in the Scala format for complete flexibility.

To expand the power of ThumbJam, new instruments will be available for download. You can also record your own samples using a built-in or attached microphone and play them instantly. Create your own presets with different settings, scales and keys based on the existing instruments.

Thumbjam’s instruments include:

OCARINA

Again, I’ve found that the description for Ocarina on its developer’s website (Smule) is what you want to read. This is a fun app!

• Blow into your microphone to play music
• Hold down combinations of holes to change pitch
• Tilt your phone to change vibrato rate and depth
• Advanced users can change keys and modes, including C-Major and the new Zeldarian mode
• Or, instead of using your breath, simply press the holes to make music in touch mode

Hear Melodies from Around the World

• Tap the globe icon to hear Smule Ocarina players from around the world
• Show love for your favorite melodies and listen to most loved melodies

Record and Share Your Melodies

• Manually or automatically record your melodies while you’re playing
• Share your melodies with friends and family over email right from your phone
• Archive and display your melodies on your own “My Ocarina” webpage

GUITAR TOOLKIT

This is a fantastic app that bundles all kinds of things guitar related all into one for it’s user – a tuner, scales, metronome and a massive chord library. It’s even lefty-friendly. Definitely a good choice.

POCKET GUITAR

PocketGuitar offers the user 6 different types of guitars to strum on (Electric, Acoustic-Electric, Muted, Classical, Electric Bass and even the Ukulele). It also has built-in effects like Chorus, Delay and Distortion, which can all be edited! Guitar lovers, check this out!

STAY IN TUNE

Stay In Tune is another great chromatic tuner like ClearTune, but instead has a more modern and sleek look.

So that’s it for now. Stay tuned (no pun intended) for “The Best iPhone apps for Music Producers and Live Audio Engineers” – Coming soon.

The Equalizer comes in many different styles and types, but all do basically the same thing. They can attenuate certain frequency ranges that are deemed to be a problem, or boost frequency ranges that are pleasing or simply just help an instrument stand apart from other instruments. The equalizer is a very important tool in creating a good sounding mix. If every instrument were to contain the same frequency content, it would be very difficult to distinguish any of the instruments from each other when they are all played together. A common technique is to add a different frequency range to each instrument, allowing each to have it’s own place in the mix. Different equalizers can be as simple as a bass and treble control, to a graphic equalizer, to what we are going to focus on in the studio, the parametric equalizer. Special thanks to George Massenburg for creating the first parametric equalizer. We are going to star with the most basic of equalizers, the filter, and work our way to the parametric equalizer.

The Filter

A Filter can only attenuate or cut frequencies. The filter usually consists of passive circuitry which means that it has no amplifiers involved. In the analog world, passive circuitry means less noise induced into the circuit. A bandpass filter attenuates high and low frequencies, allowing only a specified range of frequencies to be heard. A notch filter is the exact opposite of the bandpass. The Notch FIlter attenuates a specific frequency range. A highpass or lowpass filter are half of a bandpass filter, attenuating low or high frequencies. Filters typically attenuate in a 6 dB per octave increments or poles. The filter shown here can be set up to 4 poles, or 24 dB per octave attenuation.

The Shelving Equalizer

The shelving equalizer amplifies or attenuates the main frequency selected, plus all frequencies beyond that point. These types of equalizers are good for making an instrument sound a little brighter or darker overall, without affecting any one specific frequency.

Parametric Equalizer

The parametric equalizer is used for general equalization to extreme microscopic equalization. The parametric equalizer not only allows you to select the frequency you would like to boost or cut, but also allows you to control how wide of a range of nearby frequencies will be affected. A parametric equalizer has three parts per band:

• Frequency Selector - The main frequency to be affected (center frequency)
• Gain or attenuation – How much gain or attenuation to the center frequency
• Bandwidth – How wide of a range around the center frequency will be affected. Bandwidth is measured in Q. The higher the Q the narrower the bandwidth.

Remember that using your ears is the most important thing when using an equalizer. Sometimes the hardest thing to do is to leave instruments that sound good alone.

Joshua Black

Brides, wedding planners and everyone in the wedding/event industry knows that although it is extremely rewarding, planning a wedding or event is a daughting task.  To help streamline the process and expand the planner toolkit, we have created a list of must have iphone apps for the dedicated event planner:

• Evernote
  The best way to organize and search through your notes, images, tasks, etc.  No more piles of note pads and sticky notes!
  
• My Punchbowl
  A full event planning suite in an app.  Send out invites, divvy up work into manageable steps, manage guest lists and event get post event rating, reviews and testimonials.
• QuickVoice
  This handy voice recorder includes a pause function, which has set it apart from the others.  No pen? No paper? No problem.  You can even record mini convos with your clients so you don’t miss a detail.
• Google Mobile App
  Saves time when you need to do a quick google search.  Just open up the app and use your voice to search the web.
• AudioPlanner
  This app is great for event planners who are involved in sound production or budgeting.  It allows you to manage audio equipment lists, generate budget recommendations for clients and get free advice from industry experts if needed.
• Omnifocus
  A great productivity tool that allows you capture your notes and ideas and convert them into easy to navigate task lists.  You can even synch your taks with any computer right through the app.
• Map Mailer
  A convenient and quick way to send map locations to clients and colleauges.  Now you can actually show them when they ask you, “Where are you?”
• Countdownr
  This app counts down to the date and time of a specific event. This app can also be synched with google calendar.
• Coordinatr
  Perfect for planning smaller events like barbecues, birthdays, and luncheons which require quick planning and execution within a matter of days.
• iPartee
  A great app for finding the perfect venue for upcoming events.  It even gives you the tools to promote and generate revenue for your events.

Try them out yourself and see if your productivity increases with our list of must have iphone apps for event planners.

The equalizer is a very overlooked tool in making your mix gel together. It is used to carve out frequency ranges for each of your instruments allowing them to fit together easier, and should be considered nothing less then an art form. One thing is for certain; if every instrument were left untouched, they will all “mask” each other and none will be clearly heard. It is also a good idea to make fine equalization adjustments while listening to other instruments.

Since many of you with home studios record vocal production, we are going to talk about how to EQ a vocal. The lead vocal will typically need to have everything from 70 Hz to 120 Hz filtered out to minimize rumble and pops from wind hitting the capsule of the microphone. How much to roll off will vary depending on if it is a male or female vocal production, or what type of sound you are trying to achieve. Sometimes a boost in the 100 Hz to 250 Hz range can help the vocal sound a little thicker but be careful in adding low frequencies to the vocal producton. The clarity in the vocal can be found between the 1 kHz to around 4.5 kHz. Every vocalist will be slightly different. A good approach is to boost the gain knob of a frequency range 5 to 10 dB, and sweep the frequency knob back and forth until you hear something you like. Once you find the pleasing frequency rage bring the gain knob back to zero, and then add the gain back in until you have just enough. Adding a 10kHz shelf to the vocal can add a little more presence and make the vocalist sound closer to you. Rolling off the frequencies above 10 kHz will make the vocalist sound further away.

The backing vocals should be processed very similar to the lead vocal except that the high frequencies should not be as present as the lead. If the backing vocals were as present as the lead vocal, they would also sound as close to the listener as the lead. This is fine if there are multiple lead vocals, but usually backing vocals are “backing vocals” and shouldn’t sound as close.

Joshua Black

Those looking to spice up their wedding reception, but haven’t had a chance to see Digital Soul in action yet often as us what makes our wedding musicians so unique. Since we aren’t always equipped with a laptop on hand to showcase our latest event footage, we often have to resort to an old school sales tool… words.

The simplest way to describe the Digital Soul musicians is the fusion of customized, modern and versatile audio technology blended seamlessly with the energy and “soul” of a live human performance. All of our musicians are of course talented and are masters of their specific instrument. However, each of our musicians is also extremely proficient at the digital counterpart of that instrument. For example, our saxophonist is not an ordinary sax player. Don’t get me wrong… he plays a mean acoustic sax. However, he also picks up its digital half, the midi wind instrument. This innovative instrument monitors the amount of air being blown into it and converts that digital information to any sound of his choosing. It is always priceless to see eyeballs widen when they hear a flute turn into a guitar on the spot! Of course, the traditional sax sound is always available from either his acoustic sax or this digital version. The possibilities are endless, which literally multiplies the amount of musicians at the event without multiplying the price.

As a cocktail ensemble, Digital Soul creates an ambient, funky, jazzy and elegant atmosphere in the room. The music is completely live and improvised on the spot by our talented digital and electric musicians. It is almost like a conversation between the musicians, but fine tuned to suit any type of lounge, cocktail or buddah-bar-esque style room. The result is a musical act that covers all aspects of what a cocktail hour performance should do: Fill the room with music that elevates everyones mood, provides a show for those who care to view and not be too loud or intrusive to disturb conversations.

An added bonus of hiring Digital Soul to provide cocktail hour music is that since the musicians are already at the venue, they can easily move into the reception hall and become an integral part of the rest of the evening’s entertainment. No matter what type of music plays, whether its hip hop, dance, or even a slow dance, the Digital Soul musicians have the ability to take the song to another level. Although our musicians are able to showcase their talents in those scattered, spotlighted solo sections, the unique nature of our digital instruments allows them to seamlessly blend into the music, created new never before heard layers.

In addition, all of our wedding musicians are completely wireless! Not only are there young, talented, high energy musicians playing funky instruments and getting the crowd going, they are doing it right on the dance floor!

You could always hire regular wedding musicians, but why?!

Chill out music or downtempo music affects us like no other music genre.  It has been an inspiration to artists, musicians, and has been used in feature films.  Chill out music creates a powerful atmosphere and take each listener on a unique journey.  To praise this evocative music genre, I have create a top ten list of the best chill out songs of all time:

1. Zero 7 – “In the Waiting Line”

Most commonly remembered from the Garden State soundtrack, this lucidity inspiring, downtempo, trip-hoppy, electro groove keeps your attention until the end.  Although vocals are not essential in chillout music, Sia’s airy melodies linger long after you’ve listened to this song.

2. Massive Attack -”Teardrop”

If you have ever seen the hit tv show House, you have been instantly captivated by the theme song.  Massive Attack has been a long time pioneer in the downtempo genre, launching their first album Blue Lines in 1991.  “Teardrop” has an alluring, soothing train track, deep droning base lines, and an ethereal vocal line that seems to glide over the top.

3. Freemasons – “Uninvited” (After Hours Mix)

Russell Small and James Wiltshire of England’s Freemasons are masters of instrumentation. Powerful bass lines, funky grooves and jazzy stabs are at the backbone of many of their chart topping tracks. Innovative as remixers as well, the Freesmasons took a crack at Alanis Morissette’s “Uninvited” and created this masterpiece.

4. Ferry Corsten – “Holding On”

A smooth, melodic vocal line, powerful lyrics, waves upon waves of delayed stabs and ambient winds produce an unforgettable track that you can listen to over and over.  Ferry Corsten is primarily known for his powerful club anthems, but this track proves that many artists have a “chill out” side waiting to come out.

5.  York – “The Awakening”

Classified more as chillhouse than chillout, this track is a seamless fusion of mild ambiance and uptempo house.  Every time I listen to this track I can’t tell if it makes me feel like lounging at the shore of a tropical beach or blasting at inhuman speeds down an abandoned highway.

6.  Enigma – “Sadness (Part 1)”

Sadness may be an old one, but it still makes it to the top ten best chill out songs of all time. Dark, curiously ominous Gregorian chanting, eastern melodies and haunting french whispering make this song a seductive favorite.

7. Moby – “Porcelain”

Porcelain has been featured in over 10 feature films. Moby has eclectic musical taste, but this one hit a nerve with a great number of listeners the world over. It has inspired, relaxed, and motivated since its release in 2000 in Moby’s album “Play”.

8. Talvin Singh – “Traveller”

Talvin Singh is a student of music in all its forms and has traveled the globe, picking up tidbits of wisdom and musical insight from each corner. During his journeys, Talvin added to this rhythmic encyclopedia by infusing his studies with various percussion arts from all over the world. Even in this unassuming donwtempo favorite, Talvin himself is heard speaking to his tablas.

9. Seal – “Kiss From a Rose”

I’m not sure if this one classifies as chill out, but who doesn’t like Seal?! Backed by a full orchestra, Seal’s silky voice makes this a memorable ballad (And not just because it was featured on screen with the dark night).

10. The Doors – “Riders on the Storm” (Chillout Mix)

A downtempo classic re-enriched with a modern feel. There is no way you can listen to this song without bobbing your head to the smooth rhythm line and addicting drum syncopations. Its also a bonus that this song was written long before the internet even existed!

That’s it! The top 10 best chillout songs of all time! (In my opinion)