Freebase Dali

Well you can come up with an elaborate lie, but that wouldn't really solve things in the long term. I wouldn't worry too much about hurting her feelings. If you're a group of people trying to achieve a common goal, then compromise is going to take priority over ego. But, on the same token, you also have to be able to tell it like it is, otherwise the whole project is suffering simply because a person doesn't want to hurt someone else's feelings.

I say just tell her what you think, nicely, and give her tips on how to make it better. She can either choose to improve it or not, but the biggest disservice you can do is to just not say anything... both for the project itself, and the person's future attempts at contributing to projects.

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WWWP

Good stuff. I guess I knew all of this already but, as always, having someone else say it makes true.

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#DEMODFROWNLAND
#TERMLIMITSFORMODERATORS

Euronomus

If the problem is just with written lyrics, keep in mind that sometimes something that looks bad on the page isn't nearly as bad when it's incorporated in with the music. Otherwise just try to hone in on the 2-3 worst lines and just tell her "these need work, YOU can do better" most people can take criticism if it's phrased in a way that makes it clear you're not criticizing them, but pointing out something that is sub-par for their skill level.

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WWWP

It's the concept I'm worried about. She wants it to be a duet where one of us the the sun and the other one is the moon and we're in love and singing back and forth to each other.

For example:

Hey Luna.
How's it going, Ray?
How is your night?
How is your day?

Like... wtf.

Edit:
Good advice though, you're completely right.

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#DEMODFROWNLAND
#TERMLIMITSFORMODERATORS

GeddyVanHalen

More Random tips:

If you're really serious about the band you're in, please PLEASE practice twice a day! You'll guarantee to be more tight than ever.

Always give credit where it's due, no matter how good or bad your live show turned out. Always thank your members for playing the show and for doing their best. This will make your members feel better about themselves and will want to continue to work with you. And to all you non-leaders....be sure to thank your leaders for doing their best to book the show (like I said...no matter how the show turns out) and for working so hard to keep the band going.

Frownland

I don't think I've ever had what I would consider a good or even a bad show. My band always gets gigs in places where people won't be paying attention to the band. But it is good to practice, the toolbox percussionist in my group is pretty slow on the uptake of themes that the rest of the band develops. Without practice we would sound like cacophony. Not the cacophony that we generally go for, the bad one.

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.

Janszoon

Make sure you pants the singer on stage periodically to keep him humble.

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A Night in the Life of the Invisible Man

Time & Place

25 Albums You Should Hear Before the Moon Crashes into the Earth and We All Die

last.fm

Euronomus

Solid advice

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GuitarBizarre

1 - If one of your band members tries to teach you something, shut the **** up and learn it, THEN change it. They didn't write the part so they could feel like you're fighting them before they even understand it. Sometimes **** sounds weird on its own, but fine together. Learn it, play it, and then change it. That order.

2 - If one of your band members asks you to do something and you don't know how, make it a point to learn what that thing is before the next practice. I've been to practice sessions with guitarists who don't know what an A chord is before, and there's nothing more painful than having to explain that to someone 3 practices after they found out they didn't know it.

3 - STOP TRYING TO FIT YOUR BAND TO A SOUND, FIT A SOUND TO YOUR BAND. Its fine to be an uptempo hard rock band, it really is, but nobody ever got anywhere by having an album full of songs that all sounded the same because the band decided they wanted to sound a certain way before they actually wrote anything. If one of your band members wants to write a slower song, a heavier song, a weirder, more proggy song, give them some room to do it. Until you're playing gigs, to an audience, who are expecting a particular thing, then it DOES NOT MATTER if the song you're writing fits with the style of band you think you are.

4 - Always bring extra EVERYTHING to a practice. The checklist is simple: Extra strings for BOTH guitarists. Tools for any locking tremolos. Extra batteries for effects pedals. Extra picks for everyone. Extra guitar cables. An extra power cable.

All that stuff together doesn't add a whole lot more to your luggage, and it will SAVE. YOUR. ASS. Not to mention it will get you into the habit of planning for every eventuality, which will save you a ****load of hassle when you come to play live and everything goes wrong.

5 - Nobody who isn't in the band, gets to come to a practice. I don't care who they are. Not in the band? Not in the practice room. Ever. If its your girlfriend, you aren't going to be giving the band your full attention. If its a friend, you aren't going to be giving the band your full attention. If its another musician you want to see your practice, tell them to man the **** up and get a ticket to a show. If you aren't playing shows yet you aren't good enough to impress anyone anyway. Get out of my ****ing practice room and let us get to business.

6 - Get down to business. Food, banter, jokes, and jams are all fine, but you're not paying for a jam room. You're paying for a room where you can get down to doing some work. Every minute you're playing a 12 bar blues instead of one of your own songs, you are spending money for no reason, and you're getting nothing out of it. You can practice 12 bar and jamtracks at home. Leave it there.

7 - Don't **** around with the equipment. Practice rooms are dirty, dingy, smelly places where you're lucky if the equipment even half works. If you stumble upon something that ****s up in a strange, amusing way, DO NOT SPEND TEN MINUTES FREAKING ABOUT IT. You're paying for the room, and, presumably, the PA system you're laughing at. If its ****ed, ask for one that isn't. Don't make it **** up over and over again, you're only breaking it more and you WILL be asked to pay for it if the guy who owns the rooms assumes the breakage is your fault. You take that **** straight back to the office the moment you find a problem you can't live with. A busted input when the others work fine? Thats really not an issue. But if the PA periodically cuts out or clips for no reason when it really shouldn't, then you have bigger problems than a loose connection.

8 - Bring a ****ton of water with you, and nothing else. Alcohol is not a practice room drink, especially for singers. Practice rooms are NOT well ventilated. They're sealed up tight and usually the walls are carpeted. THats great for noise, but you WILL dehydrate in there, and you will do it FAST. Alcohol is not for practice rooms. ALCOHOL, IS NOT, FOR PRACTICE ROOMS.

9 - Bring earplugs. ****ING BRING EARPLUGS. BRING GODDAMNED EARPLUGS. As a sufferer of tinnitus, I can tell you right now, that ringing in your ears after you are somewhere loud for 4 hours straight is NOT going away over time. You are just learning to tune it out. It is cumulative damage to your hearing and it WILL **** you over before you're 40 if you're not careful. BRING. ****ING. EARPLUGS. You'll be able to hear things more clearly anyway because the earplugs will serve to block out weird aural anomalies like standing waves and beaming. The whole band should be doing this, and I do not give a **** how "Uncool" you think you are for wearing them. You should be wearing them onstage too. There's nothing you can't hear with earplugs IN onstage, that you would be able to hear without them. Sure, between songs you'll be shouting, but that just makes you seem to have more stage presence, rather than being a member of the crowd you seem commanding and powerful.

10 - In line with the above - When you practice, face all amplifiers to the drummer, turn them down to minimum, have the drummer play, and then turn your amplifier up until the drummer says he can hear you over himself. Repeat this process for the other guitars, the bass, and the vocals. That way you'll practice at a level that isn't insane, you'll have more clean headroom, and the room you're in will contribute less distortion to your final sound. Everybody wins.

11 - Really, this is sort of a 10b, but think about this. If you hear a man and a woman say the same thing at the same time, its very easy to seperate out which voice is which. The reason is obvious, the woman's voice is much higher than the man's. If you have two men say the same thing together, you may well find it much more difficult to seperate the two, since they'll have more similar voices.

The same applies in sound mixing, both onstage and in practice. If you find you can't hear one instrument over the other in practice, try changing your TONE before you change your VOLUME. A guitar with the mids cut out, playing over a guitar with the mids boosted, will retain more of its own voice than two guitars with a flat EQ. A vocalist with a very low voice will probably have to ask the guitarists to turn that frequency down on their amplifiers. A bassist will have similar concerns.

Generally speaking, if you have a bassist at all, guitars don't need to have a very bassy tone. Its more important that they cut through, and have just enough bass to stop them being weedy and thin. Conversely, a bassist doesn't need a lot of treble to be defined within a band, as long as nothing is stomping on his low end.

Also, avoid guitar tones with too much treble in. You'll overpower the cymbals. The guitars voice is in the midrange. You want to be sculpting that range, you DO NOT want to be adding in too much bass and treble through excessive EQ. a little goes a long way.

Frownland

I knew that reading your wall of text would provide at least some insight. These closing three tips are fantastic.

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.