A Sequencer?

I like looking around music stores and testing their stuff. It’s like the equivalent of a candy shop for the kid in me. It also happens to be the kinds of places where I get all sorts of info regarding the local music scene, and so here’s one story:

There was one time when I was visiting one of my favorite music stores (Lazer Musical Instruments SM Bicutan), and the reliever for the store manager was there. We jammed a bit, talked about music, about performing, etc. and then he asked (I’m just paraphrasing here), “Nagsi-sequencer ka ba?” Now, for my non-Tagalog-speaking friends, the question seems odd. Bear with me for a little while and you’ll get the gist of what the question is all about. I thought that the guy meant, “Do you use a sequencer for live performances?” And so I replied, “Hindi, pero sa bahay may computer ako na ginamit kong sequencer.” (No, but at home I use my computer as a sequencer.) The ignoramus in me never thought that he was referring to a kind of musician.

So, since I’m rather ignorant, I ask what exactly is a sequencer the musician? From what I have deduced from my conversation with that guy, a “sequencer” is a pianist or keyboard player that plays cover songs in lounges or bars with a singer. From what understand now, “sequencer” is Filipino musician slang for lounge pianist or musician (which I am not) that specializes in performing covers of other artists. And so, when I Googled that up, I found terms like “sequencer band” or “sequencer duo”, all search results referring to groups of Filipino musicians. It must be like that because they’re supposed to sequence a musical program or perhaps sequence a musical program with real instruments plus a sequencer (the hardware). I’m not really sure if that’s how would you define “sequencer”.

And so, the lesson learned here is that if you’re going to talk to a Filipino musician, especially the kind that plays in cover bands or groups, and you’re talking about sequencers, clarify first what is his/her definition of the term “sequencer”.

Updates and Musings from the Last Two Weeks of September 2013

The past few weeks of September have been very interesting.

Last Monday, I completed my second day of school. I’m currently pursuing an M.A. in music education (applied music emphasis, piano) at the PWU School of Music. So far, so good it’s been very good. Despite experiencing anxiety (and messing up big time) when I played for the first time in front of my piano professor, it wasn’t as bad as I thought it was. This is because my second day with her was fruitful. I got my assigned work (scales from C to E, some Czerny, Beethoven, Bartok, and Tcherepin) and, more importantly, I learned aspects of my technique that need work, something that I probably won’t be able to observe on my own. I think I’m in good hands since my piano teacher is the romantic period piano expert at the UP College of Music. With enough effort on my part, I guess there’s a lot of things I can learn from her. She says my legato playing, fingering and pedaling can still improve. I just hope that I can play my assigned pieces at a respectable level come Monday. Time to go back to the woodshed I guess.

Fortunately, I’m still working with Steve Nixon as his music transcriber. Working with him is a great opportunity to improve my understanding of what jazz is. Seems like I’m getting some jazz education with Steve while I go improve my classical at PWU. Tomorrow, I’ll be submitting a jazz scale guide.

I also managed to finish the “Eucharistia” songbook for Barbie Dumlao and Springs Foundation, Inc. It’s always a pleasure working with them.

I’m waiting for new assignments from GuitarZoom. I just finished working on “Real World Soloing” and that one turned out to be good as well.

The highlight of last month is probably the concert entitled “Musicalitea in Unity”. It was a concert organized by the UCCP-LCSMC Liturgy and Music committee. It was held last 09/28/2013 at the PCU Auditorium. I performed an original composition called “Promises” for solo piano as part of my set. Prior to that, I performed an old favorite, “Hesus”, with Pastor Chaz Romero on guitar and Chay Innocentes on vocals. It was very fruitful. I felt very honored and happy as well afterwards as Rev. Leo Eva Rempola, virtuoso pianist extraordinaire, asked for a sheet music copy of “Promises” after hearing me perform it. Like most of what I hear from my performances, I don’t impress myself. Matter of fact is that I could probably improve my performance next time. Nevertheless, I’m happy enough that I plan to share recordings of the concert via Soundcloud, so watch out for those.

Until next time, please stay glued to this page. Thank you and God bless!

“I Miss You” by Shean Cleofas and Lenny Nabor

I remember some time around 2012 when I arranged this song for songwriter Lenny Nabor:

This version of Lenny Nabor’s “I Miss You” was interpreted by Shean Cleofas with arrangement by yours truly. I thought something that sounded like “Everything But the Girl” would suit the song well.

If there would be one thing I’d change in this present recording would be the dynamics. The piano overpowers everything else. I’d also make some changes in the overall mix, should I be given the opportunity to do so. So, Lenny, if you’re reading this, I hope you give me a chance to mix it. I just need a copy of the vocal track.

Apparently, Lenny has plans of working with me again on another song. I’m about to make a sample arrangement of a few bars for that new song. Let’s wait and see (and hear) what would happen next.

The Key to Understanding 12 Bar Blues is in Lance Vallis’ “Blues Guitar 101”

One of the ways of understanding how many songs work in today’s contemporary context is knowing what exactly is a 12-bar blues. The latest project I was involved in is a GuitarZoom course called “Blues Guitar 101” by Lance Vallis. This new course features the basics of playing a 12-bar-blues, the form of the 12-bar blues, and a variety of ways of how to play both melodic parts/solos and rhythmic accompaniment.

Since I’m the one who had the task of transcribing most of the stuff that Mr. Vallis plays throughout the video, I do have some form of bias with regard to my opinion. It’s a very good blues course that features a lot of material that demonstrates Mr. Vallis’ prowess in improvising blues lines. He also offers a number of useful licks and phrases that you can instantly use in many blues jam situations.

If you want to get into the blues right away, I would suggest getting this course by clicking on the “Blues Guitar 101” graphic above. After mastering the various concepts presented, I suggest moving on to Steve Stine’s 96 Blues Licks.

Detunized’s “Glass Harp” and “Intergalactic Ice Cream Man”

My good friend from Dresden, Stephan Marche, CEO of Detunized, has asked me to write a little demo for his new sample pack called “Glass Harp”. It’s available in a variety of formats such as Ableton Live Pack and NI Kontakt. If you’ve ever dreamed of having a glass armonica as part of your touring rig, this is the closest you can get to the real thing.

Anyway, I’ll leave out the specs (you can find the specs in the Detunized website) so that we can now proceed to the small piece I wrote. Influenced by the classical period (think Mozart and Haydn), I now give you “Intergalactic Ice Cream Man”, composed and performed by yours truly, along with two other compositions by two other guys. My piece is the first cut you’ll hear:

You can purchase the pack via http://Detunized.com

An Electric Guitar, a Tube Amp, a Hymn, and the Dream of an Electric Guitar Orchestra

The idea of having an electric guitar is nothing new. It’s been done before in the studio by the likes of Brian May and in live situations by somebody like Glenn Branca. However, that does not stop me from being fascinated by it. As a matter of fact, I still dream of establishing a purely electric guitar orchestra in the Philippines. I don’t know if that idea has already been implemented in this godforsaken country where I live but I hope to turn that idea into reality.

Anyway, as I was going through and studying the hymns that will be sung at the UCCP-MCCD on Sunday, I ended playing our benediction hymn (“The Lord Bless You and Keep You”) on the piano. The idea then came to me to create a test recording of my electric guitar plugged into a tiny tube amp,  a Bugera BC15 (a hybrid actually with a tube preamp and solid state power section). Okay, I know some snobbish gearhead somewhere in cyberspace would have their negative impressions of it but who cares anyway? As long as it can do what I need, I’m happy. Guess what the piece I used for the test recording. It’s the benediction hymn. Not much of a puzzle at all, right?

So, I plugged my guitar into the amp, mic’ed up my amp with my trusty old condenser mic, took the hymnal from the piano and into the other piano (where my recording equipment is located), and I began reading through all the parts while recording. Since it’s SATB, I recorded each part into four different tracks, mixed everything, performed some post-production processing, and ended up with this:

 

So, on face value it seems like I’m trying to channel a cheap Brian May impression. Brian May is, after all, Brian May, and nobody could match what he could do. The point here really is not imitating Brian May (although it somewhat sounds like it), but experimenting and figuring out how a tiny amp and an electric guitar would sound like as an ensemble instrument. It’s kind of like an electric rondalla ensemble, the kind of thing I’m dreaming about. For my ears, it sounds nice although opinions by others may vary. I’m happy that I could realize something like an electric guitar orchestra in a studio setting.

This got me into thinking: I suppose it really is possible for me to organize an electric guitar orchestra here in the Philippines. The thing required to turn this into reality is to get around 12 note-reading guitarists equipped with their electric guitars and tiny amps (with overdrive). This, however, is fraught with certain problems:

1. In a performance situation, having at least 12 guitar amps would be difficult to control. No matter how tiny they can be, each amp can be really loud. This leads us to problem number 2:

2. There are lead guitarists that have an inflated sense of ego. They would complain they are not loud enough, so they would turn up their volume. Eventually everybody starts competing for volume. It can be a big headache.

3. Financing such a project can be expensive. To sum it up, I cannot afford it and the future of an electric guitar orchestra being financially compensated for what it’s worth seems nil.

Possible solutions include:

1. Hooking up each amp into a mixing board. However, the entire point of an electric guitar orchestra is to simulate an acoustic one i.e. I will treat an electric guitar and an amp as a single instrument. Positioning each amplifier in different sections of the performance hall is essential in how I perceive an electric guitar orchestra should sound like. Hooking up each amp to a mixing board with the output ultimately coming from PA loudspeakers would completely destroy the ambient effect I am looking for.

2. Hiring for attitude, training for skill. I should try to employ humble and open-minded guitarists willing to learn how to read notation. I should avoid those who try to be extra special with egos bigger than Yngwie Malmsteen.

3. Getting a grant and looking for sponsors. Perhaps I should turn this into a proposal for a local arts society or foundation and see if they would finance me. Are there local foundations out there who would give a rat’s ass about a project like this? I don’t know. I could try finding if I got the time. Perhaps there might be a couple of rich people out there who have the money for such.

I wonder if this electric guitar orchestra dream of mine could become a reality here in the Philippines. Maybe somebody out there would support it.

Answering the Call

It’s was the first Saturday of the year that I had formally worked with both the choir and worship band of UCCP-Makati Church of Christ Disciples. It was tough and challenging yet at the same very fulfilling. I have seen the logistical challenges that I would face should I try to unite both choir and worship band. The task seems daunting but I hope for the best. I am really hoping that I’m being of any help to that rather small community of believers.

Just this morning was the time that I would call testing the waters. Although I had played with the worship band a couple of times, it was the first time I would be at my most active. I was directing the band while playing lead guitar. I played with the church’s regular pianist and choir conductor through a number of songs. I was trying very hard to demonstrate that there need not be a divide between a traditional piano-and-choir-group and a contemporary worship band. In my mind it should just be a single worship group that is engaged throughout the worship service. Next Saturday I will be hauling again a number of items from my home studio to the church, teach music theory and instrument technique in the afternoon, rehearse with both choir and worship band.

As things go at this time, it seems that the worship band isn’t ready yet for the rather technical aspects of playing the kind of music featured in the anthem section of the worship service. I aspire to be able to pass down whatever skills I have to the band and the choir so that every musical aspect of the service could be covered by both as a single unit. It doesn’t have to matter whether they are singing traditional hymns or covering the kind of stuff that Don Moen and Ron Kenoly would play. I am optimistic that this will happen given training and patience.

Like my studio persona, I am a teacher, equipment technician, musician, and music director rolled into one package. It’s tough work where I do not expect any remuneration of sort. What lies ahead of me are more challenges from both a personal and professional perspective. Why would I be crazy enough to put out such effort every week? It’s because I am answering the call of The Lord. I have no other justification for it. God has called me to use my skills for his purpose. I will abide by what I believe is my calling and purpose in life. So it has begun, my life as a volunteer music worker.

Using the Five Most Important Synthesizer Modules

Good day. This is Mark Galang with another post about music production in compliance with the requirements for the Berklee College of Music course called “Introduction to Music Production”, hosted for free by Coursera. In this post, I will discuss how to use the five most important synthesizer modules. These are your oscillator, filter, amplifier, envelope, and low frequency oscillator or LFO. For this tutorial, I will be using three kinds of software synthesizers namely RGC Audio’s Z3ta +1, MinimogueVA, and Mothman 1966. We can also consider this tutorial as a sort of crash course into subtractive synthesis.

1. Oscillator

In any synthesizer (even those that play back samples), the oscillator is the sound source. It produces the waveform/s that you need to shape to produce the desired sound. The most basic parameter we get to control in an oscillator is the waveform selection. We usually have a number of waveforms to choose from including sine (fundamental frequency only), pulse waves such as square and triangle (fundamental frequency + odd harmonics), and sawtooth waves (fundamental + odd and even harmonics).

In the Mothman 1966, three waveforms are available called diamond (triangle), 8-bit saw (sawtooth), and wind (sine):

The MinimogueVA (obviously modeled after the Minimoog) has a couple more parameters other than standard waveform selection. You can adjust the tuning and the register of the oscillator as well as apply an overdrive (distortion) effect.

The Z3ta is the most complex of these softsynths. Its oscillator section has more choices for waveforms along with more parameters to shape them. There is even an option available for users to draw their own custom waveforms.

2. Voltage Controlled Filter (VCF)

More complex waveforms such as sawtooth can often sound harsh, and this is why a filter (more properly called voltage controlled filter or VCF) is present in all synthesizers. The filter functions much like an EQ except that in synthesizers, we can expect its parameters to change over a short period of time. The most common kind of filter in a synthesizer is a low-pass filter, the rationale being it is the best filter for cutting out brightness or harshness in the fastest way possible. In a synthesizer, the cutoff parameter is probably the most important. In a typical low-pass filter, raising the knob or slider for cutoff will raise the cutoff frequency meaning that you cut off less of the high frequencies and make the sound brighter. Lowering the cutoff knob will cut more high frequencies, making the sound of your oscillator darker.

One of the fun things about using these synthesizers is when you are modulating the filter’s cutoff, either manually or through an LFO. Sometimes you may want the realtime use of the filter cutoff to be more obvious. This is where the resonance parameter can be very useful. Increasing the resonance will make your use of the filter more pronounced. When the resonance parameter is up to a particular level, some of the high frequencies seep through as you turn the cutoff knob or slider to either direction.

The Mothman’s VCF features the basic control parameters:

In the MinimogueVA, the filter’s resonance is aptly called emphasis. Contour Amount adjusts the Q of the filter and velocity adjusts how fast the cutoff knob responds:

The Z3ta’s filter can be changed from the standard low-pass to others such as notch, band pass, and high pass:

3. Amplifier

The synthesizer’s amplifier works by raising the amplitude of the signal coming from the oscillator after it passes through the filter. The most basic control over the amplifier is the master volume section of the synthesizer as shown in all three featured synthesizers:

However, we can also have more specific control over the amplifier, allowing us to shape how each note is articulated. This is where we make use of the…

4. Envelope

The envelope is one component of the amplifier that adjusts the amplitude of the sound at certain points over a very short amount of time. The amplifier’s envelope has four parameters:

Attack Time – The amount of time it takes for the signal to reach peak amplitude after a note on command (i.e. pressing a key).

Decay Time – The amount of time it takes for the signal to reach the designated sustain level.

Sustain Level – A designated amplitude level during the main sequence of the sound’s duration. The level of the sound after decay time has passed.

Release Time – The amount of time it takes for the sound to go from sustain level to zero after a note off command.

These parameters spell out conveniently as the acronym ADSR.

By adjusting these parameters, we can emulate the responses of various instruments such as the organ, violin, brass, piano, etc. For example, the organ has a “switch” type of envelope, and so we would set attack to 0, decay to 0, sustain level to any amount desired, and release to 0. If we want the synthesizer to have a piano-like response where the note dies off slowly after pressing a key, we set attack to 0, have a long decay time of about a few seconds, and then set sustain level and release time to 0. If we want the sound to “swell”, we set the attack time above 0.

The amplitude envelope generator is pretty much standard in all three featured synths, although the MinimogueVA has got envelope controls for filter as well and the Z3ta has additional parameters beyond the traditional ADSR:

5. Low Frequency Oscillator (LFO)

Other than willfully adjusting all the parameters of our synthesizers with our hands, you can assign an LFO to do this for you in a cyclical manner. An LFO typically operates at a frequency below the threshold of hearing, typically at a repetitive pattern determined by the kind of waveform used and the rate at which the LFO operates.

We can use the LFO to have control over the oscillator for vibrato effects, the amplifier for tremolo effects, and the filter for automatic filter sweeps.

The Mothman’s LFO can be assigned to the oscillator or filter. You can select the waveform as well as adjust its speed.

For the MinimogueVA, the third oscillator (OSC3) can be used as an LFO and can be assigned to various parameters:

As for the Z3ta, we can make use of the modulation matrix to route the LFO to control the other components of the synth ranging from the oscillator to the main volume control:

And so this ends a rather lengthy discussion about the five most important modules of any synthesizer.

It took me quite a while to write this tutorial but I think I could improve on this tutorial through video and audio examples. As of this time, I’m not capable of capturing video for a demonstration. If time permits, I will record some audio examples that demonstrate the functions of each synthesizer module.

“Trolling” the Trolls 2: One Suggestion on How to Overpower the Trolls

If you have read my previous post, Trolling the Trolls, you may then define troll as a critic who has the objective of putting someone down with words yet has no capability of demonstrating skill necessary for improvement. One way of dealing with such lowlifes is to overpower them. We all know that the troll’s only objective is to make themselves feel better by bashing other people’s accomplishments (especially when they have nothing of worth to show). Here’s another way of dealing with them.

Now, I don’t advocate impulsively bashing the troll back since the troll would get the kind of attention he/she wants. Since a troll is a fool, it is best to either ignore them or answer their opinions in a logical fashion that will destroy their arguments. However, Mike Johnston has another idea.

Mike Johnston has posted what he calls “The Most Important Video I have Ever Uploaded”. It probably is one of the best suggestions out there to overpower the negative impact of trolls:

Even musicians can be guilty of being trolls. If you’re one of them, please stop. Your not helping anybody. Why don’t you offer positive comments or constructive criticism instead?

“Trolling” the Trolls: A Piece on Dealing with Criticism

A huge part of being a musician is the fact that one would always be under some sort of criticism. I know for one thing that I am not exempt from that. There will always be people who will hate you for no reason at all. You would be thankful for a few who would actually give out criticism because they care and they want you to improve. Unfortunately most of these people who are called “trolls” on the Internet really have nothing good to say. They only care about bashing or slandering you with words. If you think about it, it just shows how insecure they really are about themselves and they try to find self-worth in trying to hurt other people with words. If you ask me, that’s a truly miserable experience.

Whenever I watch videos of people playing their beloved instruments on YouTube, most of them would leave the comments section open for the public to use. Occasionally, you will see people posting positive, heartwarming comments, something that would give you the drive to continue on doing what you love. Most, however, would try and put you down. Many times I have been at the receiving end of such things. Back in the days when I had limited equipment (from 2003 to 2009, I produced music with a Pentium III PC and a consumer-level sound card!), I get comments like my music is overblown, too long, poor production values, overly ambitious, pretentious, etc. Some were even cruel enough to suggest that I forget music altogether and take up something like tennis! Now, how are those comments of any help might I ask? They aren’t. They just exist to hurt you.

So, how do you respond to such things. Never give up! Take all of those things as a challenge. All my life I have had to face critics ranging from my own parents to some stranger who knows nothing about my life and my passion for music. I had moments when I cried because of such painful words. Still to this day, I have to deal with how low my self-esteem has become because of mere words. The thing is that critics will not go away. They will always be there. It is best that you take those comments into consideration and take them as pointers for improvement. While we recognize the fact that the impulse to feel angry or sad will always be there after a critic attacks harshly, it is best to always use your cognitive faculties to look at the criticism from an objective standpoint.

Back in the days when I just used a Pentium III to experiment with sound and produce my music (I still have those albums in this website where I made use of such equipment), I felt deeply hurt when critics attacked the quality of my recordings and the quality of my voice. But then again, after all that emotion had passed, I evaluated myself. I realized the fact that I didn’t have the right equipment; it’s something that I had to accept. I also realized that I needed to read and learn more about the various facets of music production i.e. using EQ, effects, mixing, etc. Looking back, I’m glad that I risked putting my music out for the world to listen to; otherwise I wouldn’t have learned. Fast forward to the present day, I am at the very least scraping some of my living expenses from a variety of musical activities. Given my age now, I think I would have been worse off had I followed the troll’s advice of going for something like tennis! At least music gave me something to hope for that is achievable. If I tried tennis with my present weight and bad knees, I would be laughable.

To anyone reading this who has been shot down by any troll’s words, here’s what you can do:

1. Allow your emotions to be felt but control how you respond to them. It’s all right to feel sad, angry, bitter. You really can’t help it. It’s natural to feel that way. But then, make use of those emotions to drive your creativity. Maybe you can write a song about it or do some other thing. Express that emotion in some positive way. It wouldn’t really help at all if you try and kill the troll. That wouldn’t be of benefit at all.

2. Study the critic’s words. In certain instances, criticism has some kind of basis. Try and figure out why it was said in the first place. Maybe there really is something there you can use to improve. I for one had to swallow my pride and see if there really is anything in there for me to consider. Discard the bad, take note of the good.

3. Accept the fact that you cannot make everybody happy. Despite any measure to improve, you will always be under attack by some critic or two. The Canadian band Rush exemplifies this fact by continuing to create their brand of music, despite being ignored for years by the Rock and Roll Hall of Fame and attacks by famed critics like Robert Christgau.

4. Continue on working towards your goals. Never give up. At the very least, your creativity will bring forth achievements that will be gratifying to yourself and to others. Hey, at the very least there still will be one or more people who would like your work. For someone like me, it’s enough drive to for me to continue. Even if nobody would like what I put out, I’ll still try because eventually my persistence and hard work will pay off.

As a consolation, try this out. Look up a video on YouTube of any musician performing. Many times you will find trolls posting harsh comments. Try clicking on their profiles and see if they themselves have put out any smidgen of creativity like an original song or a performance. Many times, you will find that they really don’t have anything to demonstrate except for their harsh words. You will see how empty such people really are.

Here’s an example: Look into this video of a guitarist testing out the Bugera BC-15 practice amp: http://www.youtube.com/watch?v=v-1ArtTkGpc

Here you will see Japanese guitarist Akira Wada testing out the amp. You will see here comments by this guy saying, “oh god,stop it! he plays like a 12 year old student..,”and this guy  saying, “I had to watch again OMG he is playing like a 13 year old in a guitar store.Perhaps it’s to sophisticated for me to understand.It made me chuckle, for whats it’s worth.” The funny thing is that these people have the balls to post such comments when they themselves have nothing to show. All words people! Can they demonstrate how a mature man should play guitar. It’s best for them to shut up because if you inspect their YouTube profiles I don’t see any videos of them playing like Steve Vai or Allan Holdsworth or Eric Clapton even. It just demonstrates how fools use empty words. I remember reading Proverbs 15 when dealing with unqualified people who speak empty words. Verse 2 reads, “The tongue of the wise commends knowledge, but the mouth of the fool gushes folly.” Seems to me that there are two kinds of critics, the “wise” ones who actually know what they are talking about (useful for learning) and the fools a.k.a. trolls who could not demonstrate what they are saying and only mean to hurt people.

For those trolls out there, I challenge you. Is this a guy who plays like a 12-year old?

If you could play better than this, I MIGHT listen to you. Otherwise, you aren’t worth my time.

As Jean Sibelius once said, “Pay no attention to what the critics say. Remember, a statue has never been set up in honor of a critic!” It has the similar tone of Proverbs 12:16 which reads, “A fool shows his annoyance at once, but a prudent man overlooks an insult.” I remember Limp Bizkit’s Wes Borland insulting Dream Theater. Did Dream Theater paid attention to his attention-grabbing antics? He was simply ignored.