Tensei
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This is definitely some quality work. Intro is nice and ethereal, it really retains the sort of mystical quality from the original, which is a good thing. When the drums came in I was a bit concerned that they'd stay that weak, but you quickly layered in more samples and loops, and all was good. =P
The mix definitely has a more ambient-ish quality to it than anything else as the melodies don't really carry the mix on, but sort of linger around, melding together with the pads etc. The breakbeats definitely sound professional to my laymen's ears, so no criticism about those. The flute/shakuhachi/whatever adds some nice oriental vibes, and kind of reminds me of some of Toshiro Masuda's stuff (who did pretty much the whole Naruto OST)
Really, productionwise, it's hard to find any flaw at all, and in terms of arrangement, I'd only say that the ending section is a bit too drawn out for my taste, but you might have done that on purpose.
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CL = ??? cowbell?
Clap (me thinks)
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Oi, a fellow dutchman. I guess I'll have to comment then. =P
Well the main problem with the arrangement is that the mix doesn't really develop. You got lots of interesting stuff going on in terms of instrumentation, but the mix really needs variation in terms of melodic and harmonic content, since you're basically restricting yourself around a relatively short part from the original, and only bring in the main melody near the ending.
Also, It really needs to build up to some kind of climax. While the drums are interesting, I think they're in fact a bit TOO varied. You might want to try and lay down a steady groove somewhere, because the whole song felt as a kind of intro to something.
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I shall be churning out an interesting bonus mix for this, and I look forward to seeing the other entries.
Once again, can I copy your signature? =P
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This sounds VERY much like Kefka's theme from final fantasy VI, which is an amazing theme in itself, so this should be very cool as well, I guess I'll see if I can do something with this. Excellent choice of source material =P
By the way: Isn't this supposed to be in General stuff nowadays? I thought that it was moved (along with a few other big competitions) so they could get more public attention.
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(55= Splash Cymbal, 36= Bass Drum, 38= Snare)
This is the basic template for a blast-beat, a sixteenth note pattern alternating between a bass and a snare, backed by a simple cymbal/hi-hat pattern. It's not groovy, it doesn't put accents anywhere, but it has a charming 'wall of sound'-like quality which is exactly what makes it so agressive and in your face. Use with discretion.
Some other general guidelines on blastbeats are that since there is NO variation in the bass/snare pattern, you'll want to change the cymbal/hi-hat patterns a lot more often than usually to prevent them from getting stale. Also, I'm not entirely sure about whether the bass drum should be played in a constant 16th pattern, or whether it should stop when the snare plays, so maybe someone who actually CAN play the drums can clarify that for us.
Anyway, this is turning out longer than I expected, so I'll be covering drum fills, drum solo's, accenting and the like in the next update. Thanks for reading.
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Part 2: Feelin Tha Beat
Well, now that I've properly introduced the whole drum kit, it's time to get down to more interesting business, the actual construction of beats. We'll start with the standard rock rhythm, move on to more complicated rock patterns (yes, including blast beats), talk about some metal, go into detail about drum fills, and finally deconstruct a drum solo.
I'll be using an unconventional, but hopefully easily understandable way of writing down the drum beats, so I don't have to resort to BOOM TAP TSSSS CRASHHHHHH-like drum impressions like last time, and since I have no idea where I can upload midis without getting deleted after 24 hours, I'm sure you can copy the things I write down into your drum machine/sequencer to listen for yourself.
The Feather that breaks the camels backbeat
Chuck Berry summed it up pretty nicely in his song 'Rock 'n Roll Music' by saying " You can't lose it, it's got a backbeat to it". What he meant to say by that, that as opposed to jazz, where the patterns can get very chaotic, in rock music, the snare will ALWAYS be sitting there on the off-beat, and the kick will ALWAYS be on the beat. Nowadays, things aren't so tightly defined, and of course you don't have to feel urged to do it like Chuck Berry when you're writing rock music.
But the most basic template for a rock beat is this:
(36 = Bass Drum, 38 = Snare)
I think NEARLY any rock beat that isn't from a prog rock song, or a blast beat, has had this basic structure as a template (Don't come whining to me about putting only one snare on the third beat, and bass drums on 1, 2, 4, we all know that that's called half-time, and that's in essence the same)
Of course, this pattern is way too boring, so we still need to spice it up with some hawt hi-hat action before it can be put into a song, and add some more interesting bass drum patterns. As a disclaimer, I'm not claiming this is the right way to construct a decent beat, nor that I'm suggesting you copy it ( In fact, write your own), this really is just an example of a relatively common rock pattern, and I'm showing how it comes to existence from the basic template.
(42 being a closed hi-hat, though an open one can work as well here)
What I've done here, is I've put a double-time hi-hat over our beat (so the hi-hat is played twice a beat, hence the double-time name), which adds an extra 'groove'( yes, even more vague descriptions), and drives on the backbeat, because it's such a continuous rhythm. The bass-drum pattern has been made interesting by adding double-time, but only at a few places, because we don't want to fill absolutely everything with bass-drums (sort of you how you don't! want! to! put! an! exclamation mark! behind every word or sentence, because it's power will be lost by overusing it, but yeah, metal drums are an exception to this analogy)
Now, this is really ALL I'm telling you about bass-drum placement, since I don't want everyone to sound the same as me, I'll only say that as a general rule of thumb, you'll want the bass-drum on the beat, and the snare off the beat, and for the rest just experiment with what sounds good.
HI-FIVE, DUDE
The influence of interesting hi-hat (and cymbal) patterns on a beat is one of the most underestimated aspects of beat construction at all. Generally, with EACH significant transition, you'll want another hi-hat pattern as well, possibly even a totally different beat (refer to what I said about bass-drum placement). Unfortunately for you, I'm going to have to present the subtleties of this in the context of a song of mine, because it really isn't too easy to explain without having an instrumental backing.
http://neutronstar.org/tensei/Bloody%20Tears%20Example.mid
The first part you hear:
35= Bass Drum
40= Snare
57= Crash Cymbal
Now notice how the Crash is on each beat, because it's such a big cymbal, you really can't do it much faster than that (no double-time) without muddying things up, but the result is this kind of placement (I.E. a BIG cymbal like a crash or china on each beat) helps to make the beat sound relatively slow and heavy, and works great for this sort of breakdowns.
The second part after the crazy strings with the drum fills is in fact real simple, as it ultimately descends to this:
(51= Ride Cymbal, 42= Closed Hi-hat)
The Ride Cymbal has the familiar pattern of being twice on each beat, which makes it drive the song forward without going overboard. Generally I refer to the ride, the splash and the open hi-hat as the Medium Cymbals, which can be played quite fast (I'd say twice on each beat), without muddying things up, but I wouldn't recommend them playing faster than that. Also of note is that while the strings play the same chords, the drums go smoothly from playing fills to a beat, which can really give a relatively repetitive pattern a feeling of moving forward.
After the transition we get into the part with the crazy bass, which is backed by a SIXTEENTH closed hi-hat pattern (the equivalent of quadruple time). As you can hear, this has the effect of giving it a sense of even more acceleration than the previous beat, and IMO it's great as a backing for a solo instrument.
So as a conclusion:
Big Cymbals: Never faster than once on each beat, gives a sense of heaviness, slowness, etc. Works great as a backing for slower parts, during so-called break-downs or during the chorus of a song.
Medium Cymbals: Never faster than twice on each beat, gives a sense of forward motion, works well in the verse parts of a mix.
Small Cymbals (pretty much closed hi-hat only): As fast as you want, though you should keep it real and within human capabilities, works great for parts where you want a fast solo backing, or give the impression that some FAST SHIT IZ GOIN DOWN.
Now as to the exact arrangement of the cymbals during a beat, I'll leave that up to you, I gave some general guidelines, and some examples, but I'm not going to hold your hand all the way obviously.
When Rock just isn't hard enough
So you think all this talk of Rock 'n Roll and shit is not for you? Are your walls plastered with Pantera-posters? Can't get enough of Slayers latest album?
Well, I guess I'll have to talk about some metal then. Metal drums are in fact similar to general rock drums, except that they're taken to the extreme. Metal drum kits can have upwards of 5 tom drums, 2 bass drums, and a shitload of different cymbals, which gives you uh, quite a lot of stuff to work with. Of course the cymbals can all be subdivided into the three main classes I described above, so that makes it a lot easier for you. But what the hell are you supposed to do with those two humongous bass-drums?
Well, let me start of by saying that while bass-drums are normally used to accent the beat, and determine the main feel and pattern of a beat, a double bass-drum is often used to totally fill-up the lower end of a bar by playing sixteenth notes. The way this is often used is to either intensify a repetitive instrumental pattern, where you for example first have a standard bass-drum pattern, and after two bars or so, the drummer starts thumping out sixteenth notes, which, again, gives a sense of forward movement.
Another application of this are bass-drum rolls, which are essentially drum fills, so I'll leave that for another time when I'll be discussing those.
Blast-off!
Now I'm not going to go into a metal subgenre discussion, but I'll just say that both Death Metal and hardcore punk are known for a drum application called a blast-beat. In essence, it's really an exaggeration of the basic rock and roll beat played in quadruple time (though even faster is possible as well!)
http://neutronstar.org/tensei/Hardcore%20Gerudo.mid
As you can hear, the blast beats used here make the song intense, agressive, and in-your-face (which exactly happen to be those qualities in Death Metal we all know and adore.)
(see next post due to image limit)
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Um, I think there's some kind of misunderstanding, but Valkyriemix is not a WIP for this Xenogears project, right? I thought it was just a standalone mix.
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I know you're gonna expand on this but I did spot this one thing. Don't forget that this isn't the only rock style snare placement. Often they are on every beat with some kicks inbetween, which is quite common in punky or metal drums.
One example: Muse - Newborn
You mean as in blast-beats?
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Don't get discouraged, but this isn't really impressing me as far as what I think should be the focus of a drum tutorial. Teaching people your theory on beats will only make everyone sound more similar than they already do. Instead why not focus on proper mixing and the role of the drum kit within a song structure?
Well I really wanted to start just from the ground up, which is why I'll cover more advanced topics later on, and it's not like I'm going to say what kind of beats you should be using where, I'm just going to try and describe the functions of each drum component in the construction of a beat, and how you can utilize each of them best.
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This is so cool. I can't believe you mentioned Dimmu borgir. Hahaha. I've written probably more than 50 original songs, of which 90% contain drums. Just like you said, I too have never made them sound from low to high. But after reading this tutorial, I'm thinking, "Why, the hell, not make them go from low to high? It might be cool." I think I'll see what I can do about that in my Xenoremix. Hahaha.
Yeah that was actually not meant to detract anyone from trying, it just occured to me that 90% of the time tom rolls are in triplets, and they're ALWAYS from high to low. =P
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Given that besides Zircon's excellent, though brief tutorial on realistic drum sequencing there's really not a lot of in-depth material on drums at all, and since I've been noticing a lot of people having trouble with writing catchy and realistic drum parts, I've decided to try and write a comprehensive guide to writing and sequencing realistic drum parts.
Not because I'm some virtuoso Mike Portnoy-level drummer, nor because I'm an amazing remixer (both of which I'm not, at least not to my knowledge), but just because I really like writing drum parts, and always find myself paying extra attention to them when I'm listening to songs. Therefore, rather than thinking of this guide as a be-all, end-all, you should think of it more as my personal view, which may or may not help you. Oh, and just so you know, I've never touched a drum kit before..ever.
Introduction
The modern drum kit different from other instruments in the fact that it is basically an amalgam of all kinds of different percussion instruments from different parts of the world, rather than having one common predecessor (as for example the guitar has evolved from the lute). We have the african tom-toms, the asian china-cymbal, and the different western orchestral snares/cymbals/bass-drums. The drum kit as it's known nowadays is an evolution of the jazz drum kits that came into popularity during the start of the 20th century, and the elements can even be traced further into the future in electronica beats, which emulate, or at least sound similar to the different components of a drum kit.
Getting to know the kit
The modern drum kit is always constructed from a number of pretty specific drums and cymbals, and while there may be some exotic variations (timbales, cowbells), the elements that make a drum kit a drum kit are usually very strictly defined.
The Bass Drum/ Kick Drum
"The Beating heart of the drum kit" is an apt name for the bass-drum. It's the biggest drum in the whole kit, and it's operated by the drummer's foot (or feet), it's the big rotund thingamajig that sits right in front of the drummer, of which you probably thought it was just a support for the other drums. It comes in three basic variations, the single beater/single drum, the double-beater/single drum and the almighty double-beater/double drum (the last two are obviously operated by both feet)
If you've ever listened to music ( I recommend you do this, it's pretty cool actually), chances are, you've heard a bass drum in some form or mutation. The big and regular BOOM BOOM BOOM smacks on modern club hits? The machine-gun like rolls on Dimmu Borgir's latest release? All bass-drum baby.
And that's also pretty much a summary of the extremes of the bass-drums functions.
It is either used to accent each beat to drive the song on, in a 'walking' kind of way, or it gets into more complicated patterns with double-time and all that jazz ( which I'll definitely dive into some other time) to create a compelling and interesting beat. Of course on your average black metal release the drums have an extra function, namely to create a 'wall of sound'-like quality by basically having a non-stop bass-drum roll going on, which imparts a sense of blinding speed to the music.
The snare
If the bass-drum is the beating heart, then the snare is definitely the brains/head of the drum kit. It's the relatively small, unconvincing drum that's sitting right above the bass-drum, somewhere between the toms. Really, a snare and a bass-drum is all that you need to construct a beat, though it will probably be quite boring without the use of different cymbals (read about those below). If you like to drum on your table (I can suggest this, I do it all the time!), chances are, you've already made some sort of emulation of a snare. Let's start drumming now, make a fist with your right hand (that will be our bass-drum that's going to go boom), and use your left index finger to tap on the table (or better yet, the nail, for some hawt rimshot action!), and tap with me: Boom, tap, boom boom tap, boom, tap, boom boom, tap. Sounds familiar eh? That's cause it's probably the single most overused rock 'n roll rhythm in existence.
Now, if you would isolate the taps, and you know something about rhythm theory, you'd know that all the taps fall on the second and fourth beat of the measure, i.e., the off-beat. And THAT's the main function of the snare, by accenting the off-beat, you create a sort of tension, which is exactly what has driven on COUNTLESS of pop and rock hits. Of course, that's not everything you can do with the snare at all. The snare can be perfectly used for creating so-called "drum-fills", which I'll look into some other time.
What is interesting to know is the rimshot action I was talking about. While the snare usually is hit where it's supposed to be hit, by hitting on the very edge, you can get sort of a tick or click, which is perfect for your average prom-evening slow-dance ballad, or just to add an extra accent or ghost note somewhere, or whatever you want, just use your imagination.
The Hi-Hats
We're slowly moving on into cymbal territory, and on your left hand you can see a beautiful pair of Hi-hats. The Hi-hats are without a doubt the most often-used cymbals because of their recognizable timbre and relatively short decay times, which makes them apt for spicing up a beat without muddying it up. Hi-hats are basically two cymbals pressed onto each other, but by operating the foot-pedal, the drummer can increase the distance between them. So if he were to suddenly let go of the pedal, you'd get a 'clankingmetalthingiesclosing' kind of vibe, which is one of the ways of operating them. When they're open, and the drummer hits them, they go like TSSSS TSSS TSSSS TSSS, which is great as a sort of countdown ( I'm sure you've heard it before and you know what I mean). A very typical use of the open hi-hats is just splashing them over the BOOM tap BOOM BOOM tap-beat in a eighth-note pattern, which helps them to drive on the beat.
When the hi-hats are closed, they really go more like TF, or maybe even just T, which means a good drummer can play them really quickly without muddying everything up. Therefore, you can use the famous 'sixteenth beat', which is again the familiar BOOM tap pattern, except that on every quarter note, you get four TF TF TF TF's. That's very fast indeed, and imparts a greater sense of urgency than the open hi-hat pattern.
This was really just the most basic of hi-hat uses, I'll look deeper into how you can use them to impart different moods and accents in your beats later.
Crash, China & Splash Cymbals
These are generally not so much used for driving on a beat, but rather for placing accents on places where you want them. They are the BIG round yellow plates, that all kind of go CRASHHSSSSSSSsssssss, except the China sounds more like a Chinese gong, and the Splash sounds more like a..well, a splash. If you want a real sluggish beat though, try putting a crash on each quarter note, this makes it sound really slow and heavy (if you have the guitar riffage to back it up)
Generally, you'll want one of these (the crash usually) to hit at the same moment as an IMPORTANT note played by one of your instruments, thus placing extra emphasis on it. Another use for it is after an (instrumental) transition, you might want to use a crash at the very beginning of the measure to signify that something has changed.
Ride Cymbal
This is usually an even bigger plate than a crash cymbal, but it is usually played surprisingly soft, and it has a very distinct, almost bell-like timbre. It might be hard to recognize it, but it's generally used in place of an open hi-hat, when the hi-hat has become lame, and your drums need variation. There really can't be said much about it, it's basically an alternate hi-hat, though I've heard it can be used as a crash as well.
Tom Drums
Ah yes, there's nothing like some phat african beatz to spice up your boring drum tracks, and the toms do a perfect job of emulating those classic George of the Jungle vibes. They are the drums above, and next to the bass-drum, but they're not the snare, which leaves you with about three other drums (or more, if you're rich), that are probably the toms. They have a deep, resonant TOM TOM TOM-like sound, and they're usually pitched from high to low. A typical way of using a tom is having a triplet where you play them from high to low ( NEVER the other way around, it might invoke the implosion of the universe, toms are NOT meant to be played from low to high.), which works great as a drum fill, but is actually a pretty darn lame fill too.
Toms can be used in driving beats (I.E., Beats that drive the song on, not fills) as well, but their application here is very slippery, and there really are no set rules, nor commonly known extremely popular rhythms that everyone uses (not like the BOOM TAP obviously), that incorporate toms into driving beats.
Anyway, this was sort of a pilot-episode of my tutorial on rock drums, I hope you liked it, and if not, I'm sorry for wasting your time reading. I'm just sort of measuring how much interest there would be for this sort of article, and whether my writing is acceptable and readable. I know I kind of ventured into the very basics here, but if there's enough interest, I'll follow up with an Episode 2 about constructing your own Phat Rock Beatz, which will be a bit more advanced, and might be interesting for veteran remixers to read as well.
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Now look here, young man, just because I happen to like a lot of other musical styles doesn't mean I can't do metal, because extreme metal still happens to be my favorite musical style ( More specifically Melodic Death and Thrash). I'm pretty sure I'd be able to play and write other extreme genres as well, it's just that I haven't gotten into it yet. =P
Speaking of guitars, is there any news from Fishy? I thought he was going to write "Awakening" further?
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productionwise, this is slowly getting there. However, in terms of arrangement, I think the intro is drawn out wayyyyyyy tooooo long, I would end it at 0:28. I can't say I like the fourth chord you're using in the intro either (0:07, 0:21), it's unexpected, and it doesn't work for me at all. When you get to the main melody I think you could make things pick up a bit more, add percussion, or at least SOMETHING that isn't playing long, drawn-out chords. The long slow passages work for half a minute at most, after that it really sounds like you're just noodling around. I know you're probably purposefully going for a dissonant approach, but the high violin is so dissonant it makes me cringe. The explosion at the end is totally out of place, it made me chuckle though =P
What you've got now is a half minute intro that's drawn out to two and a half minute, so I suggest you cut out about two minutes and start making a section where things really pick up.
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Sure, let's hear it. =P
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Ah, it didn't make it. Well, one must have listened to Spirit Temple, which is slooow (especially in comparison), to be able to recognize it. I recall I had to refresh my memory a couple of times after listening to this WIP for the first time. I'm sure most people who listened to the original would identify it. It's not as if you changed the theme into oblivion, but anyway, the final verdict has been posted. It's ovah! For now.
Anyway, what happened to you? You look awful:
http://www.last.fm/music/Villainelle
Well actually the panel had to come up with a whole analysis of the arrangement to determine whether or not the mix was close enough to the original, and they came to the conclusion that while it had harmonic, melodic and stylistical similarities to the original, direct quotations were very brief at best, and by far not obvious enough to qualify as a true remix. That's what I was referring to with 'drama' =P
My point was actually that Vilainelle had given up on this remix (or that's what I read in the judging thread), and wouldn't be working on it anymore, which I think is really too bad, because you just don't get much more borderline than this mix; it was so close to being accepted, for all I think, it just needs an obvious lead instrument playing a recognizable melody throughout the mix, and presto. I just can't stand if this mix gets discontinued, because you can really tell there's been an amazing amount of work put into it, and it would mean that that all has gone to waste.
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If you have the money, go with both Reason AND Fruity Loops. Both complement each other perfectly, and both have a relatively fast learning curve.
Reason basically has pretty good samplers, synths and effects (The included sample library is extensive, and you can get by with it, though you'll probably want to move on to something better later), and is amazingly fun to work with right out of the box. Fruity Loops comes over as a bit less user-friendly (in my opinion =P), but it can handle stuff like live recording, tempo changes and VST effects and instruments, so if you combine the two through Rewire, you get a relatively cheap and user-friendly DAW with enough onboard stuff to keep you busy for at least a year.
About the hardware stuff, IMO a keyboard isn't necessary. I guess it can speed up your workflow a lot, but I get by just fine with using only my mouse, because I don't even have the space for a keyboard. There's nothing extra you can do with a midi controller that you can't do with a mouse ( If you know how to work with stuff like automation and velocity editing), it's just that a keyboard can speed it up a lot, so I consider it more of a handy addition than a real necessity.
If I were you I'd first get your DAW (that's really the only thing you need to start mixing actually =P), then a good soundcard/recording interface/headphones/monitors (because you want to be able to hear what you're doing, and maybe you'll want to record live instruments), and if you still have enough money, consider getting a keyboard/midi controller.
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I'm actually thinking of picking up Star of Tears, and redoing it in 80s rock style (
(I already have enough arrangement ideas, don't worry), but I'd need to find a female vocalist who's up to it =P -
Damn it, I just read through all the drama this went through during the judging process, and it just bugs the hell out of me, because this mix is pure win, and I would hate to see it fall into oblivion. I think a thread-bump is in order; I'm asking you to please consider reworking it and resubmitting, maybe even strike up a collaboration in case you're having technical difficulties at the moment, but I really want this mix to get through =P
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Even in Resident Evil 4, none of the music really stood out for me. It works perfectly as background-music, and the helicopter-ganado battle music was cool, but none of them have the necessary catchy leitmotif that's required from a good source song. It's more of a cinematic soundtrack than a game soundtrack, and the emphasis is more on the instrumentation and atmosphere than on the melody.
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Hi, I'm looking for a good drum set thats good for rock music. I've already tried looking at Hammersound, homemusician, and sf2midi. I still can't find what I want. Can anyone help me?
http://naturalstudio.co.uk/bb/viewtopic.php?t=548
NSkit is probably the best free drum soundfont you can find. Personally I like the kick drums, the hi-hats and the snares, but for my toms and cymbals I generally turn to other soundfonts. It does require a lot of processing, but the results are amazing for a free kit.
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This is actually very decent, but there's still a lot you could do to improve it.
The piano is very mechanically sequenced right off the bat. First impressions are everything, and this doesn't come off too good. Especially the starting arpeggio is in desperate need of velocity editing. Can you name a pianist that hits every note with exactly the same strength? Cause I sure can't =P
If you really wanna be a perfectionist, you can move the individual notes forward or back a few milliseconds.
I think during the electronica-section, you could do with adding back a bit more of the orchestral sounds from the intro. Especially the piano-arpeggio screams to be put in there somewhere near the end, so you can have some sort of development there. While none of the synth sounds are annoying at all, I think you could play around a bit more with different instrumentation, for example add some contra-melody with a different synth later on. This would really help in giving this mix a sense of development, and give the impression that it's really going somewhere.
About your specific issues: This is not a death metal mix, right? So there's no reason to have volume pumped up to near-clipping. I didn't have to adjust my speakers to listen to it, so I'd say volume level is fine.
About the choir; are you using the Nando Florestan Ahh Choir?. It's pretty much the best free choir soundfont you'll find, and it really can get the job done.
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Meh, looks like I will be missing out on this one after all, I totally forgot that I'm going on a week-long holiday. I wish you all the best of luck writing a good arrangement, and I look forward to see what source tune Hylian Lemon has cooked up for PRC 101. Bye bye for now then, everyone =P
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While the vocals are generally pleasant, It might be a good idea to add some (more) reverb to have them blend with the mix a bit better, and maybe play around a bit more with the panorama settings, especially at the doubled parts.
Also, I think this needs an instrumental solo at some point, because apart from the vocals there isn't really any development throughout the mix, the instrumentation tends to become quite cut+paste, and I think some kind of rad electric guitar solo would totally put this mix over the top (though a piano, synth, or even a violin solo would work great as well).
super metroid - brinstar (piano)
in Post Your Game ReMixes!
Posted
Yes, this can definitely be a rock mix, especially due to the chord progressions, and the fact I actually enjoyed jamming along with it. Though if you go with guitars, you're going to need drums and bass as well, it just wouldn't sound right without them. =P