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.

Steve Stine’s Songfire Now Available

GuitarZoom, one of my long-term employers, has another very useful course for anybody who’s interested in learning new songs on the guitar in a fast and intelligent way. This new course is called Songfire. Written by GuitarZoom’s guitarist-in-residence and professor of modern guitar at North Dakota State University, Steve Stine, This new course offers a no-nonsense approach that could enable any guitar beginner into hearing how most songs work and then eventually learn them in the process.

Now, for those who think they can become instant virtuoso players with this course, you are mistaken. This course is NOT about gaining virtuoso technique in an instant (it takes years of hard work and practice to gain that). This course is more about being able to play many of the songs you hear and enjoy on your guitar in a fast way. This course is not about being able to play your favorite songs note by note, but it is more about being able to understand the underlying harmonic structure (chord progressions, etc.) based on what you hear. Upon finishing the course, you’d be able to listen actively to many pop and rock songs and be able to play through its chord progression in a matter of minutes.

Okay, maybe some will be disappointed that virtuoso guitarist Steve Stine released a non-virtuoso course. Well, that is not the point of Songfire. Songfire’s intent is to give learners the ability to hear music as a whole and be able to at least play a semblance of it, following along the chord progression WITHOUT reading notation or tab. B ear in mind that seemingly simple, sort of entry-level topics like those in Songfire could easily lead any beginning guitarist to be stimulated into getting deeper into the workings of music, eventually figuring out what most of us would consider virtuoso technique. The positive and pleasurable effects of being to successfully learn a new song can always lead to bigger things, musically speaking.

If you want to get access to the course, just click on the Songfire image above. As usual, sheet music and text by none other than yours truly.

Testing Acoustic Guitars and Jamming at Lazer Music SM Bicutan

The crazy staff at Lazer Music SM Bicutan: Allan (left) and Mark (right)

Because of the affordable high quality gear and friendly people, the Lazer Music store at SM Bicutan has become one of my favorite places. It’s this particular shop where I usually spend time looking at stuff, talking to the staff, testing a lot of stuff, and jamming with the staff and other customers while my son is sweating it out at a nearby Wushu class by White Tiger Wushu Zhan. It’s also the shop where I purchased one of my electric guitars (the red one with humbuckers). Last March, when I visited Lazer, I was (as usual) acting like a kid at a candy shop and looking at all those guitars with amazement and wonder. I then had fixed my eyes on this particular guitar:

The nice, shiny all-solid wood Greg Bennett by Samick dreadnought between the classical guitar and the black dreadnought with cutaway. I want one of those!

I tried out this guitar in a variety of tunings and brought out my Zoom H4n recorder. Allan (the manager I believe) brought out another guitar and we started jamming on whatever came into our minds. Occasionally, Mark (a staff member) would sit on the drum kit and play some simple rhythms. If my memory is serving me accurately, I was playing the guitar in an open C tuning while Allan was playing standard. And so, ladies and gentlemen, here’s the kind of mess we had made out of those guitars (The guitar I’m playing is primarily at the left channel of these recordings):

For only around Php 7,000 (about 175 USD), it’s a rather cheap all-solid-wood guitar that sounds amazing. We admit we were making a mess out of that entire jam, but it was all just for fun. We had a blast thus the objective has been met. I was unable to buy the guitar though but what the hey. I’ll find another one like that should I get the budget for that.

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.

“Reality” Shows and Creativity

I’m a composer. It is expected that I be creative and that I love creativity, no matter what form it may show up. Creativity is evident in a lot of things, and new media is no exception. Part of that new media so to speak are those TV programs we now call “reality” shows. As much as these kinds of shows push their way to greatly exaggerate or distort reality (just like professional wrestling), I would be first to admit that there are certain “reality” shows that I like watching. However, for a “reality” show to become interesting to me, it has to show people being very creative and expressing themselves through actual skill and talent. Therefore, in terms of these kinds of shows, you won’t expect me to watch “Survivor”, “Keeping Up with the Kardashians”, “The Hills”, “Teen Moms”, or anything like that.

As I said, I appreciate a series that really highlights creativity. Some of my favorites are ones that involve food. As a composer and musician, I like trying to gain insight into how they work their creativity into something that couldn’t be preserved in their actual physical forms. Shows like “Top Chef”, “Cupcake Wars”, and “Cake Boss” are some of those shows that spark interest in me. These chefs are really dedicated to their art despite full knowledge that their creations will eventually end up in someone’s gut (and septic tank) after a few hours. Since food involves the senses, whenever I watch these kinds of shows, I try my best to see (or hear) what their equivalents might be in sound. If I take that approach, then perhaps I could mirror what I learn from these culinary shows from a gustatory aspect to an auditory aspect. I aspire to make music that is excellent and more than satisfying, something you would always come back for more. It’s kind of like having a comforting home-cooked meal or some haute cuisine.

I also tend to take that kind of approach when watching something like “Project Runway.” I certainly am not a fashionable person, but I can readily appreciate how designers would craft wonderful creations out of fabric. It’s kind of like how a composer would build a piece out of plucked strings, struck objects , and blown tubes. The kind of ethic and creative insight behind such endeavors deserve to be commended.

The thing is that these sorts of “reality” shows have a very interesting visual element to it. The question now is would a thing like “Top Composer” work well on network TV? I’m guessing that it wouldn’t work well. I mean that as much as you’d love people scream their soul out on “American Idol” or “The Voice”, I doubt that watching a composer scribble notes or record so many takes of a few bars of music on a DAW to be an exciting prospect. Would it be exciting to watch someone like John Williams, Philip Glass, or Randy Newman as head judge giving out a challenge such as, “You need to write and record a 12-bar blues combined with 20th-century serialism using a maximum instrumentation of 16-14-12-10-8 plus rock band,” to composers like myself. I mean your ordinary viewer would have a hard time understanding that, so it wouldn’t really fly as far as something like Top Chef. But who am I to say that? After all, I’m not some network executive like Chuck Lorre who could predict what show concept can become a hit.

P.S. If Bravo TV comes up with something like “Top Composer”, I would watch it. I might even try to audition for it.

Riding the Fader on a Musical Performance

Hello. My name is Mark Galang, and I’m here today to talk about riding the fader on a musical performance. This piece has been written in compliance with the peer-reviewed assignment requirement for the course “Introduction to Music Production” by the Berklee College of Music, hosted for free by Coursera.org.

Nothing is more satisfying than hearing a musical performance by humans. However, as much as we’d like human performance to be perfect, it is far from from being one. While the quirks of a live performance may sometimes be tolerated, studio recordings usually are more demanding. Therefore we use a couple of processes here and there to somewhat address imperfections, and one of these techniques is riding the fader. Riding the fader aims to Control dynamics over a recorded audio track in an effort to achieve some sort of balance I.e. to decrease volume of sections that are too loud and increase sections that are too soft. To demonstrate how to do this, I have opened up a project in Cakewalk Sonar 11, and I will be manipulating the bass track.

To start riding the fader, I have to enable automation write first by clicking on the W button on the bass track. You’ll notice that it would turn red as soon as I click on it. Once that’s been accomplished, I can now start recording automation once I press play or record. Let’s begin.

1. Opening a Project

For this assignment, I have used the same project I recorded for the previous piece (How to Prepare a Project and Record Audio in a DAW). I selected the bass track for this particular task.

2. Enabling Automation Write

To start actually recording volume fader movements (“riding the fader”), I clicked on the small button that looks like a “W”. It’s the automation write button. Once it turns red, I know that it has been enabled and I could then start recording fader movements after I hit the play or record button.

3. Riding the Fader

I started playing back the project and then manipulated the volume fader so that Cakewalk Sonar would begin recording my fader movement. Generally, I try my best to follow the shape of the waveform to somewhat preserve the actual dynamics I recorded during performance. I was aiming to somewhat reduce the amplitude of sections I felt I had played too loud.

4. Editing the Volume Envelope

Once I have recorded the volume fader movements, I can now see that Cakewalk Sonar has generated a volume envelope with nodes that I can move around. If I want to make adjustments to the envelope, I can just move the nodes either upwards to increase volume or downwards to decrease.

Upon completing the task of riding the fader, I realized that it is far from perfect. I was just using the mouse to perform this task and I think I would have achieved better results if I had a control surface connected to my DAW. I think that it would take me a while to edit the nodes in the automation that I wrote. I was not happy with the result. In the end, I decided to scrap my work and I would try another time to ride the fader (or perhaps use a compressor plugin).

I do think that riding the fader is a skill that takes as much precision as playing an instrument. It demands careful listening and practice to achieve good results without resorting to editing the envelope later. I’m not surprised that compressors were developed to automate this process.

I hope that this short piece has helped you in understanding how to control dynamics in musical recordings through riding the fader. If you have any comments, feedback or constructive criticism for me regarding this post, please let me know. I would be happy to read them as I would like to further improve myself. Thank you very much for your time and attention.

How to Prepare a Project and Record Audio in a DAW

Hello dear readers. It’s Mark A. Galang again in another installment of audio production tutorials. This tutorial was written in compliance to the peer review assignment requirement of the Berklee Course “Introduction to Music Production” being hosted by Coursera. I do hope that you all find this tutorial to be informative.

This tutorial features the way how I prepare a project in my DAW for recording. It also gives some insight into how I compose and record music. I use Cakewalk Sonar X1 as my DAW software. Let’s get started.

1. Sequencing the Drums

Before I actually create a project in Sonar, I usually write drum parts, orchestral parts, etc. using Sibelius 6. In this case, I just wrote the drum part for this project.

2. Exporting to MIDI

After writing the drum part in Sibelius, I would then save my work and then export it as a MIDI file to the folder of my choosing.

3. Creating a New Project

After opening Sonar X1, I make use of an atypical method of creating a project. I close the project creation wizard and then just drag the MIDI file I created into Sonar. Sonar will automatically open the MIDI file as a project.

4. Creating an Instrument Track

Once the MIDI file has opened, I would then create an instrument track that would play back the MIDI data in the project. In this case, I’m using a VST instrument called EZDrummer. An instrument track is a combination of a MIDI and Audio track. The data displayed is MIDI but the playback comes from an audio source, usually a software instrument.

5. Transferring MIDI data to Instrument Track

Instead of assigning EZDrummer as the output for my MIDI track, I just simply drag the MIDI data into the instrument track and then delete the resulting empty MIDI track. The instrument track can read MIDI data anyway so I have no further use for the empty MIDI track.

6. Creating an Audio Track

I would then create an audio track next by right clicking on the empty space where the channels are supposed to be in Track View and then selecting the “Insert Audio Track” command.

7. Labeling Audio Track and Setting Up for Recording

After creating the audio track, I would then label the audio track. In this instance, I’m recording a bass guitar track so I simply label it “Bass”. Afterwards, I select the appropriate input source for my audio track. In this case, my bass is connected to the left instrument input of my audio interface and so I select the left one in my DAW. If I select it this way, I will be able to record my bass part in mono.

8. Saving as a Project File

Because Sonar opened my project as a MIDI file, it cannot save audio data yet. I would then save the project as a “Normal” CWP (Cakewalk Project) file with the “Copy All Audio With Project” option ticked so that I can assign the project and audio data folders for easier file management.

9. Arming the Audio Track for Recording

Before I begin recording, I then click on the red button in my audio track so that it would be “armed” for recording. Once the audio track is armed, I check my instrument’s recording levels on my audio interface and on the DAW. I am now ready to record my bass parts.

10. Setting up Metronome/Click and Countoff

Before I start recording, I check my metronome/click and then see if I have the correct settings. I prefer using an audio click rather than MIDI and I set up the record count in to just “1”. Since the time signature in my project is 7/8 with a tempo of 100 bpm (in quarter notes), I expect to hear seven fast clicks before the DAW starts recording my audio.

11. Recording an Audio Track

Once the levels are set and the audio track is armed, I start recording by pressing “R” on my computer keyboard. I count along to the count-in clicks (one, two, three, four, five, six, sev) and then start playing my bass parts. Once I’m done recording, I press the space bar to stop.

12. Cloning an Audio Track for a Second Take

Because I need to have a couple of recorded options, I record a number of takes. To do this, I just clone the audio channel where my bass is recorded. To do this, I just right-click on my audio track and select the option “Clone Track”. Sonar will then duplicate the audio track in its entirety.

13. Setting up Cloned Audio Track for a Second Take

The cloned audio track contains all of the data from the previous audio track, including recorded audio. Therefore, I would delete the recorded audio from the cloned track in order to empty it so I can begin recording a second take. To lessen distractions, I would then mute the original audio track before I record my second take.

14. Recording a Second Take

Once my cloned audio track is ready, I would then record a second take following the steps mentioned a while ago.

After completing all of these steps, I think the entire effort went well. I was able to set up a project and record an audio track. Upon reviewing the project, I think that I should have saved the project immediately as a normal DAW project before setting up the audio track so that I wouldn’t run into a problem later should the application crash. Some of the steps I took to create the DAW project are atypical. However, this fits my usual workflow which involves composing and notating music first before recording audio.

For those who are interested, here’s the track I recorded for this particular tutorial:

I hope that you all have enjoyed reading and learning about recording audio in a DAW through this post. Thank you for your time and I hope to hear from you. If you have any feedback, comments, or constructive criticism, please feel free to let me know as I would love to learn new things as well.

Piano Testing with Romantic and Impressionist Music

During the last quarter of 2012, I finally was able to get the old piano I grew up with reconditioned and tuned. So, here are some videos of me testing it out. These videos were shot using my iPad.

The first clip here features my attempts at Frederic Chopin’s Etude Numbers 1 and 12 from Opus 10:

 

 

The second clip is features Claude Debussy’s Arabesque No. 1:

 

The last clip is a crack at Claude Debussy’s Reflets Dans L’Eau from Images Book 1 with an improvisation added as an intro. Of all the pieces I play on the piano, this is probably my favorite:

 

 

My sister and I grew up on this piano, and so it holds a lot of memories. It’s a good thing that I didn’t have this piano traded in for another. To my ears, it sounds fantastic whenever I’m playing it. However, it does have that effect where it doesn’t sound as well as I would like it to be when recorded. Every time I record this piano, it doesn’t sound like how I’m hearing it when playing. Perhaps I’m fooling myself to thinking how fantastic it sounds every time I play, much in the same way that any person would love his or her own voice when one is singing in the shower. At the very least I don’t despise the sound when it’s recorded (I can’t say the same thing for my vocals, the timbre of which I’m not fond of).

I could say that my technician really did a good job restoring a once-neglected piano. This actually reminds me that I need to call him up again for this piano’s supposedly biannual tuning and maintenance requirements. On that note, with regard to tuning, I would really appreciate it if anyone could point me to where I can purchase a piano tuning wrench and a set of mutes locally. It’s best if I can tune the piano myself rather than hiring a technician to do it. Given the way I batter the piano almost every day, I do need my own piano tuning kit.

Perhaps when I feel like it I might post more recent clips of me playing the piano. I hope you all enjoy this one.