About a year ago I believe, I worked on this physics-based game called “Archery: Shoot the Apple”
I was successful in designing sounds and composing music for the game from scratch. The good thing is that anybody can still purchase the game from Amazon or Barnes & Noble for $0.99.
The thing that amuses me most this time is how they describe my sound effects as “funny”. I would take that as a compliment.
I will admit that I am no expert with regard to electronic dance music or EDM for short. I have some friends who are involved with that genre including my musical mentor from the early ’90s who currently goes by the moniker “Silverfilter” and Albert (physical therapist by day, DJ by night) yet for some reason I cannot grasp the process of how to go about writing EDM. Perhaps it may not be my thing at all. But in the spirit of open-mindedness and in the effort to learn new things, I am in the process of trying to learn how to write stuff that sounds like EDM.
I do wonder if it involves similar processes as I do writing prog and jazz, you know, the muso-oriented stuff. Perhaps it may just be like writing disco with the exception that I use purely electronic instruments like loads and loads of synthesizers, drum machines, etc. Probably the closest I got to writing EDM was when I was trying to emulate Vangelis (who is NOT an EDM artist, although he was certainly influential). Is writing EDM just as simple as laying down a four-on-the-floor kick drum track with some minor-sounding synth bass on a Moog or something similar to that? I am of course familiar with the bells and whistles such as the creative use of compression like “ducking” and what not. The trouble is that I barely have an idea of how to go making things sound authentic.
I went back listening to examples of my electronic music, including my attempts to write EDM, and I would say that I don’t come close to sounding like I would shake up the walls of dance clubs and concert halls any time soon. I still have trouble figuring out the aesthetics of EDM. Maybe I should listen to more EDM so I can understand what the heck is going on because at this point I am not yet a fan of it. Perhaps if I achieve some level of fanaticism with it, then I could get the hang of EDM. Heck, prog-rock guitar heroes like Mike Oldfield and Steve Hillage got the hang of EDM, so why couldn’t I? I probably don’t have to go the length of going to Ibiza for that like Mike Oldfield did.
Anyway, it would suffice to say for now that I’m trying to learn EDM. A composer has to wear many hats, and if I want to make progress, I should acquire the EDM hat soon. In the quest to learn and understand EDM, I stumbled across this Saturday Night Live clip. I find it funny.
I am that newbie, and boy do I suck at this. How many times do I have to suck before getting it right just like those folks at the BOSS Loopstation Championships? Gotta shed some more wood on bass? Piano? Ableton? I guess that would be everything.
It annoys me every time I read or hear one of these things:
These and other statements have that air of bigotry and intolerance. I really want to ask such people these questions such as these:
More often than not, people who appeal to such rhetoric are those individuals who tend to impose their own musical preferences on other people. If we were to accept the fact that the style of music found in traditional hymns is the only proper way to worship God through music, isn’t that just simply confining ourselves to a particular musical culture that came out of Europe? Are we therefore equating European sacred music as the only kind of music that could glorify God? Sounds very ethnocentric and bigoted to me. Such arguments fall along similar lines such as the Authorized King James Version is the only acceptable bible ergo archaic English is the only kind of language acceptable to praise God. Such is hogwash.
Every genre and style of music can be considered a particular language that reaches people both in the intellectual and emotional level. Do proponents of such a narrow-minded view say that only traditional hymns are acceptable music for worship? Doesn’t that eerily follow the same line of thinking that the Roman Catholic Church followed when they did not allow the Bible to be published in languages other than Latin? Do we mean to say that people from Africa, Asia, and the rest of the world will be in sin if they wrote and sung worship music in the particular style of their culture? I would strongly disagree to such notions. Where is it that we read in the Bible that we cannot use pentatonic scales, percussion instruments, drones, and other non-European musical techniques in worship? We read it nowhere! Matter of fact is if we read passages like Psalm 33 and 150, it seems to me that ancient Israel used music accompanied by stringed instruments, trumpets, timbrels, and dancing. Now tell me, does that look like a choir accompanied by an organ or piano? In my mind, it sounds more like a big band rather than your hymn-singing choir.
Psalm 33:3 (KJV) even reads, “Sing unto him a new song; play skilfully with a loud noise.” It doesn’t sound like somber hymn singing to me. If we are to be really legalistic about this, then church should be burning their organs and pianos into one big bonfire and start training musicians how to play the kinnor and shofar and teaching the congregation to sing songs in Phrygian Dominant rather than the more traditional major and minor scales. You sure can’t find in the Bible that organs and pianos are the only instruments allowed and that electric guitars and drums are the Devil’s. If you really are dead set on thinking that drums are evil, perhaps you should rearrange Handel’s “Hallelujah” in a way that the piano doesn’t sound so percussive. Oh, and if you have an orchestra that will play it for you, forget about using timpani too. If you’re going to say that music that tends to elicit certain emotions is not appropriate for worship, why not go for something emotionally neutral like 12-tone serial music? I will be the first to tell you that is a ridiculous idea.
Don’t get me wrong: I love playing and singing traditional hymns and I play such music every Sunday at church. The fact that I have a strong disgust for are these people who brand themselves as Christians imposing their own tastes on others and declaring that to be holy writ. Such bigoted declarations on music are the laws of men rather than the word of God and are bound to cause division rather than unity. I have always believed that music for worship should be composed in an appropriate way, matching the content of the words with the expression of music, using a delicate touch when being meditative and expressing power when proclaiming God’s magnificence.
I would go on to proclaim that music i.e. the arrangement of sound and silences in an organized manner is amoral. It’s about as good as a hammer can be when used to build a house and can be as evil as the same tool when used for murder. We can only attach morality to music depending on how it is used. You would never expect me to write music reflecting God’s omnipotence using a sweet-sounding flute and light string arrangements; It would be all out bombast with drums, brass, and a distorted guitar to demonstrate that.
Want more info? Go to these links:
http://www.gotquestions.org/Bible-music.html
http://www.gotquestions.org/Christian-music.html
http://www.gotquestions.org/contemporary-Christian-music.html
It’s true: You can create musical instruments out of garbage. Being inspired by Frank Zappa as well as the Landfillharmonic, I decided to go create an improvised instrument and improvise some solo quasi-trumpet garbage jazz on it.
I’ve been taking Berocca (the fizzy vitamin tablets) for the past three weeks now as supplements. As a result, I have these leftover aluminum tubes. I thought that perhaps I can turn these tubes into musical instruments so I made a kazoo with one of them. I cut out the other end of the tube, place some kind of wax paper membrane on the other end, secured it with a hair tie, and voila I got myself a kazoo. I wanted to know how it sounded like so I filmed myself. It sounds okay to me and I think it would be useful in various musical creations. At the very least, I can grab the attention of my cats with it. It’s either the cats love it or it emits certain sound frequencies that they themselves can only hear so well that it’s annoying.
It’s been so long since I last posted something here as I was very busy with graduate school activities and work as usual. I find it refreshing that I got some time now to write something. This past week, I completed a 10-minute piece which I submitted to my composition teacher, Dr. Kristina Benitez, and got some useful feedback from her. This coming trimester, my new task is to expand that piece into a multi-movement suite. Expanding it into a suite is very doable since that piece has a lot of ideas going on. The next question now is whether or not I can get it performed or at least be able to record a good mockup of it. Because of that, I started to explore the Sibelius 7 Sound Library.
These past few days, I was occupied with testing out the Sibelius 7 Sound Library on my MacBook Pro, and so I decided to dig up my musical history. I’m not very fond of listening to the old stuff I’ve written and recorded since it feels very much like reading your high school diary (the thought of which makes me cringe). However, in this case I wanted to hear what it would be like to try out my old compositions on a new sample library.
I use a number of sample libraries in my music production in various formats like NI Kontakt, Apple EXS24, etc. and I also used to have the old Sibelius 5 sound library. I was quite fond of it when it came out (even though it was far from perfect), and so it was very exciting for me to use that new library for the first time. Hearing my old, old works on new sounds gave it new life. It still sounds far from perfect of course but the Sibelius 7 Sounds are usable to create orchestral mockups. The percussion and piano sounds were excellent although the tremolo is still has that slight machine gun effect. The other samples like strings, woodwinds, and brass are okay. As with many sample libraries, I found the guitar samples to be less than satisfying. The classical guitar samples could have been good except that it can be oddly squeaky because of the default fret noise setting. Imagine hearing playing single scale notes with every note being accompanied by a fret squeak, and so it sounds so unnatural. The solution to that would be to dial down the fret noise knob. Steel string guitar sounds are okay. The distorted guitar sound is probably the most awful of the bunch. It’s a good thing that I’m a guitarist as well and so I wouldn’t need to use those guitar samples anyway.
I said a while ago that I’m not fond of listening to my old recordings but I did find something good about that little exercise. I was able to uncover musical ideas that I would call diamonds in the rough. Bits and pieces of melodic and rhythmic themes here and there would make good material to expand for a variety of compositions that I could craft in the near future. I just hope that I get the time and patience to further explore them.
So, going back to my graduate school composition work, I plan to expand that into a suite. I should probably start once the weekday hits, or maybe I should talk to Dr. Benitez first to plan it all out. After scoring it in Sibelius, I will tweak the hell out of the MIDI to make it somewhat realistic and then practice all guitar, iPad, and piano parts before recording. That should enable me to submit a good recording by the end of the term. Afterwards, it will be time to work on my graduate thesis. Seems like I should savor these light-load days as I will be very busy in the next few months .
I was browsing through my Facebook page when I found this string of comments from a Steve Stine post:
One of the guys who commented on the new GuitarZoom “Guitarists of the 80s” course said, “Hey buddy! Are you reading the music to these leads as you play??”
Steve replied, “Tom, just wrote them out in my head and played them…”
Most of the time (myself included), many musicians write out their music inside their heads and just go out to play them. Another thing is that most of these musicians don’t have the time (or patience!) to write them out on paper for themselves. Let’s face it. The fact still stands that music transcription requires time, effort, and heaps of patience. These musical geniuses (like my buddy Steve Stine) give folks like me some kind of employment, and I am very thankful for that. Such musicians provide one big reason why I have a career as a music transcriber.
Perhaps there will come a time that the compositions inside my head will bring me great financial reward to the extent that I’ll just hit “record”, start playing, and then I could never be bothered to write them out on paper for myself. That would be a time that I will probably hire someone just like me to write them all out.
Until then, I’m the one being hired to do that sort of documentation. I really got nothing to complain about.
It took me years and years of training on the piano to get to a somewhat competent level. For basic technique, I had to learn 48 scales with 48 different fingerings (12 major, 12 natural minor, 12 harmonic minor, and 12 melodic minor scales). I also had to learn various arpeggios in all 12 keys. Add to that pentatonics, blues scales, and seven modes in seven different keys plus variations, and that’s a lot of work without even getting into playing some real music. While it probably is easy to read music using the traditional piano keyboard, it is hard work to get technique up to real good shape. No wonder why starting young is a good thing when learning the piano; it’s such hard work.
Why can’t the piano as we know it today be like the guitar where you can learn just one scale or chord shape yet be able to play that same scale or chord shape in all 12 keys? How I wish that the piano could be like the guitar in that aspect. It’s a good thing that some people thought it can be like that. Case in point, Paul Vandervoort demonstrates such a possibility in the video below:
Mr. Vandervoort here is playing an otherwise normal piano fitted with what is known as a Janko keybooard. As explained in the video, such a keyboard has great benefits such as:
I find it odd that the Janko keyboard’s practical and ergonomically sound design was not enough to supplant the otherwise difficult traditional piano keyboard. Has centuries of traditional piano keyboard use shackled us pianists to the past that we find it hard to embrace the future?
If given a chance, I’d like to have a piano and a MIDI controller with a Janko Keyboard layout. That’s going to save me so much effort in the long run.
My frustration with Windows-based systems has gone up to an all-time high. It has become increasingly difficult to work properly with it. My current data management frustrations have just tipped the scales, and so now I have decided to get a Mac system. I’m not keen on spending money just for the sake of becoming up to date with the latest technology, but the situation has called for me to get an upgrade if I want to keep working properly. Yes folks, as of this point in time, I’m using a MacBook Pro to write this entry.
Last 2012, I discovered how difficult it was to use a Windows laptop for a live rig (even if it is loaded with a good amount of RAM and a top-notch Intel processor), the latency and audio quality (even with ASIO drivers) was just unacceptable. I performed every tweak I can think of, used an external audio interface, and a stripped down Windows XP installation, only to find out that it will conk out during a live performance. Had I been using a MIDI controller that had no internal sounds, I would have been toast.
On my Windows desktop, it is not unusual for me to experience a crash at least once a week whenever I’m working on a music transcription/engraving project or video game BGM (background music work). Those BSODs represent lost time and opportunities that aggravate me to no end. Add to that a failing hard drive and I could just scream mad out of frustration. I said to myself that I can’t afford to have something like this happen to me on a frequent basis, and so I purchased this Mac.
My initial test on this particular machine involved using Main Stage. I was blown away regarding how easy it is to use. I could easily cook up the keyboard rig of my dreams, connect this MacBook to one of my digital pianos, and start playing as if I was like one of those classic Prog Rock keyboard heroes like Keith Emerson or Rick Wakeman (minus the cape, spinning pianos, and knives). Sibelius worked wonderfully on it. Logic Pro X took a bit of time to figure out, but it wasn’t as hard as learning Cakewalk as a newbie.
As a composer and musician, I would really want to focus on just writing and recording music. I don’t have the patience to tweak for hours on end just to get things working. I want to just plug in and have a go at it rather than frustrate myself further with going over system and software adjustments. The night that I received this machine proves that. I’m not surprised why there are many musicians who prefer Apple’s Mac over a Windows PC for their work.
So, should I keep my Windows system. Of course, I’ll still keep it. Matter of fact is that I’ve managed to get it to work once more. The only problem is that I can’t rely on it as much as I used to, so it will probably serve as a backup machine or a general, all-purpose home office workstation with a secondary function as a recording rig. As far as music-making is concerned, I suppose I’ll transition to this Mac in a number of days.
I love listening to jazz. I also happen to love playing it as well (at the very least I try to). In another effort to prostitute myself to cyberspace as a musician a.k.a. shameless self promotion, here are some recordings I did while attending Gary Burton’s Jazz Improvisation course via Coursera. These early 2013 recordings are my (futile) attempts at improvising over jazz standards using mostly piano and/or guitar plus a melodica on the Chick Corea/Return to Forever classic “500 Miles High”:
I hope that you (whoever you are and wherever you might be) enjoyed the sort of jazz crap I’ve been trying to spew out from my innermost being (other than my own original works).
