“Fair Use” Policy is Unfair

Let’s say you’re at your favorite pizza joint and you order a pepperoni pizza. The restaurant owner says that there is no more pepperoni pizza available. The proper thing that the restaurant owner would say is that, “I’m sorry, sir. We don’t have any pepperoni pizza available today. Would you be interested in any of  our other menu items?” The decent restaurant owner will not ask you to pay full price for that unavailable pizza and then take a slice or two from somebody else who has also paid full price. The basic concept of fairness (and justice) shows that you exactly get what you pay for.

Apparently, Philippine telecoms like Globe and Smart/PLDT don’t understand the concept of fairness. If you happen to be a subscriber of these companies like me or one of my friends (who provided the screen shot above), you probably have heard about this so-called “fair use” policy. To keep it simple, the “fair use” policy dictates that you are only limited to a certain amount of bandwidth per day (in this example 1 GB). Once you have exhausted that limit, they set your account to a snail-pace-slow connection as to give way for others to experience a faster internet speed. They call this fair. I call this crap! Why do I call this crap? Simple. I signed a contract that guarantees me that for a fixed monthly fee, I get unlimited use at a certain speed (like 1 to 2 Mbps, still sluggish compared to international standards). And all of the sudden, companies like Globe come up with this “fair use” crap that indicates you can only enjoy a sort-of-fast connection up until you consume 1 GB or something like that. Hey! I paid for unlimited use and not for this kind of crap.

Now, this reminds me of my restaurant scene analogy. “Fairness” according to these sneaky Telecom companies is like this: I order a pepperoni pizza for full price and they give me one. Sure, that’s what I expect. Halfway through eating my pizza, they decide to forcibly take my remaining slices and then give it to the next customer, who apparently has also paid for a whole pizza. Is this fairness? This is similar to how communism works: everybody gets the same amount of money whether or not I work harder than the next guy or do nothing at all and receive compensation while the next guy does double duty. It’s the same way how the Philippine government operates: The employed middle-class sweats it out for a certain wage, get taxed at least 30% by the BIR, BIR then decides to pocket some of that money for whims of the politicians (starting from the President downwards) and then hands out a little bit of that money as dole-outs to the lazy majority (armed with a bloated sense of entitlement and limited intelligence).

I work long and hard hours. One reason why I do so is for the benefit of getting a good and reliable internet connection, something that is necessary in the kind of work that I perform. I expect that the money I shell out would guarantee that I get the kind of service I paid for. The “fair use” policy is an injustice to honest, hardworking people who pay money for proper internet services. If Globe, Smart/PLDT, etc. were serious about being fair, they would expand their capacity in a faster rate than they acquire subscribers. It’s not like they are losing any of their profits if they would do such a thing. It’s only proper. With the way that the “fair use” policy goes, it seems to me like Globe and Smart/PLDT do not know any sense of propriety at all.

To reiterate my point, here’s what I think the “fair use” policy is all about:

I urge you all of you to go to this link at Change.Org and sign the petition. Thanks!

The Never-Ending Quest for Tone

Every musician wants to sound excellent, hence we find the never-ending quest for tone. You see it everywhere: at the NAMM and Musik Messe shows, musician’s forums, and music stores. At the dawn of the internet age, everybody can call himself or herself an expert, even without qualification, and thus we see conflicting information about how to achieve great tone as a musician. What is it that can really lead us to achieve that perfect tone? As far as musical instruments are concerned, I have come to the conclusion that there are two general things that lead to great tone: musicianship and craftsmanship.

I once learned from a short video tutorial by guitar giant Steve Vai that great tone starts at your fingertips. I do believe that to be true. My piano teacher, Prof. Richelle Rivera, had always stressed that proper hand positioning, correct wrist motion, and exploiting gravity produce the desired full tone over the piano. This is the reason why seemingly thin-framed pianists like Franz Liszt as well as my teacher (a rather petite woman) could achieve a sound like thunder over the piano even though they are not muscular like John Petrucci. This is one reason why my piano teacher wanted me to practice those wrist motions as I play through pieces over and over again against a constant metronome beat, something that would result in impressive tone and robot-like precision. Guitars and violins also follow the same principle that training results in the best possible tone. Although I can find whatever note I want over a fretless violin fingerboard, I could never bow a violin properly unlike my son who years of training developing his bowing hand. It was only after a number of years of practice on the guitar that I could achieve the kind of tone I wanted on that instrument. This is why they say that every great musician will be able to play great music even on the crappiest of instruments.

Craftsmanship is the second ingredient towards a great tone. You cannot really justify that tone comes out of tonewoods. Even if you give a mediocre luthier excellent materials like hard and flamed maple, ebony, Brazilian rosewood, and cedar, all of those expensive materials will still yield an instrument that sounds like crap. Hand over plywood to an excellent luthier and he will produce a cheap $75 guitar that sounds like $3,000 one. I have a Greg Bennett CD3 that can rival the tone of an expensive Gibson Les Paul. I also have a Korean-made Axtech Stratocaster copy that sounds like a Fender Strat and have tested a Chinese-made Jay Turser guitar modeled after the Fender Thinline Telecaster that can give the original a run for its money. The point is that excellent craftsmanship will always yield an excellent tone.

We can all sum up my ramblings as follows: To acquire excellent tone, practice on your instrument regularly and listen to yourself. Afterwards, when you are about to buy your next guitar, inspect for craftmanship and test it to see whether or not it can provide the best tone you can possibly have.

Early Evening at Cycfi Research, Inc.

Last Saturday, I got invited by the man behind the Cycfi Alpha, Mr. Joel de Guzman, to visit his facility somewhere in Quezon City to discuss ideas and possibilities regarding music as well as the innovative projects he undertakes. Realizing that this was one of those opportunities that I should not miss, I gave Joel my schedule and when I would be able to go visit. Fast forward to around 5:45 p.m. yesterday, I was with my son at the gates of what appeared to be a 21st-century-state-of-the-art residence, complete with tight security, a laboratory, and a properly built and well equipped studio. The first impression I got was he pushed the concept of SoHo to the extreme. The gate was opened and Joel welcomed us into his home office and conference room.

(Mr. Joel de Guzman)

Joel de Guzman is one of those rare, forward-thinking individuals. He is an IT consultant, software developer, musician, instrument maker, and open-source advocate. It’s not off target to say that he’s the local Bob Moog. He strongly believes in give-and-you-shall-receive philosophy so much that he posts his designs and concepts freely on the web which include his hexaphonic pickup design and the carbon-fiber/glass truss rod. He is a living testimony of a person who has been blessed so much because of his belief in giving. One could easily see that the gates and storehouses of heaven have opened up for him because of his unselfish attitude in life.

We talked about a lot of things, mostly exciting and forward-looking ideas for making music. Right there and then, I realized that I was in a presence of a genius. The things we were talking about were mindblowing to say the least. Joel was particular about how he could use waveshaping to explore new timbres and techniques when using the full-range hexaphonic pickup that he has been developing. The math of it all was mind-boggling to me (being a person who has struggled with math) but I guess I had enough knowhow to understand how I could use it. The idea of synthesis using the guitar’s strings and pickups as an oscillator has been expored by a number of other institutions. Companies like EHX have played with the idea by developing the POG and HOG pedals and Moog Music even has its own guitar for that purpose, but Joel made me realize that you could do more than that with his full-range pickup, a parametric EQ, and a waveshaper. He also had the idea of hiring me as his child’s music theory tutor. Sadly, I could not accommodate his request, given the distance I would have to travel to go there and give lessons.

After discussing ideas about how we could work together, Joel gave us a tour of his facility. The Alpha prototype was in the process of a paint job so he was not able to demonstrate how it sounded like. We went into his recording studio and he showed me a Fender Stratocaster with the prototype hex pickup installed. The pickup sounded rich on a Marshall combo that the guitar was plugged into. More than that, the hexaphonic output of his pickup was also connected to his Logic Pro based DAW. How it sounded like was something I have never heard on any other guitar. It was phenomenal! Imagine having individual control over each string having its own excusive output routed to a dedicated channel. Andres Segovia once said that the guitar is an orchestra unto itself. Joel’s hexaphonic pickup pushes that to a whole new level. I was very fortunate enough to have tried it for myself.

(The author smiling like an idiot with Joel’s Fender Strat and the Cycfi Hexaphonic Pickup)

It sounded crazy good with each string having a different position in the sound field starting with the low E string panned hard right and the high E string panned hard left. Since the pickup had a flat frequency response of 20 to 20,000 Hz, you could do all kinds of things with it and a parametric EQ. One of Joel’s intentions in developing this pickup is to disprove the idea that a full-range pickup is brittle sounding. Upon strumming my first chord on his guitar, I realized that he was right. Noodling with Joel’s Strat for a bit made me see all sorts of things that you can do with it. Some of the more basic things I thought I can do with it is faking an acoustic guitar with a solid-body electric (without the need for piezo saddles) and simulate any kind of pickup. That’s just the tip of the iceberg! Applying distortion to it while it is rigged in a hexaphonic manner was very interesting: full triads sounded very nice and very different. Rather than the aggressive high gain sound you usually expect from your typical humbuckers running into Marshall stack, it sounded more like a guitar orchestra. You could actually play your thirds with the gain all the way up to 10 without sounding harsh or dissonant. I could already imagine setting up six amps in a room or hall, surrounding both guitarist and audience, with each string’s signal going through each amp, exuding music like you’ve never heard before. An added bonus is that the pickup is so quiet even with distortion that the only thing a noise gate would do in this instance is to turn down the ambiance from the amp itself. Another thing currently in development is for this pickup to function as a sustainer. Once Cycfi Research finalizes the design of this pickup, I’m very sure that the serious musician will have to rethink about how to make a sound with a guitar. The question of single-coil versus humbucker would not matter with this kind of pickup. Rather than getting a pickup installed to give your guitar a certain kind of character, you can get the exact kind of voicing you want with this hexaphonic pickup by just using EQ.

(Cycfi Research Hexaphonic Pickup Prototype)

To cut the story short, I was very happy and honored to have met Joel. I hope that this will be the start of a mutually beneficial working relationship. More important than that is the fact that I have met a new friend who has the same sort of passion that I have for something new in music, finding ways to make music that’s really progressive.

To find out more about Joel and his projects, visit http://www.cycfi.com.

The Cycfi Alpha

I recently discovered this one-of-a-kind guitar that’s made out of carbon fiber and bamboo, equipped with DiMarzio pickups, soon-to-be equipped with a unique hexaphonic pickup, and impressive switching options that would provide a wide palette of guitar sounds. Oh, before I forget, did I mention that this is 100% Filipino-made? It is the brainchild of IT consultant, guitarist, and luthier Joel de Guzman:

It looks pretty, and (based on the recording I checked out) it sounds awesome too. Just go to http://www.cycfi.com/2011/03/finally/ so you can see what this instrument is all about.

If I could have one of these for myself (it’s pretty obvious now that I want one), it will open up more possibilities for future compositions. I could perhaps ask Mr. de Guzman to build me a custom Cycfi guitar (if I have the money for it), maybe a 7-string model with locking tuners and floating bridge or a guitar with MIDI output (something that would help me transcribe GuitarZoom lessons better). Wait a minute. I think I did ask him via email. Unfortunately, the Cycfi guitar is still in the prototype stage (Alpha) so there are no production models out yet. The instrument looks very promising, a form of innovation you rarely witness in this tropical country called the Philippines.

In a matter of months or years, will the Cycfi Guitar be featured in events like the NAMM Show or Musik Messe. I do hope so. In any case, should the time come that the Cycfi Guitar becomes available in the market, I will get my hands on one. After all, it is that sort of instrument that would implant a nagging thought in your head like, “Play me,” or “Check me out!” Therefore, I can say with confidence that this guitar induces GAS!

On a final note, Mr. de Guzman is looking for a luthier he can work with so that he could kick start the production process. If you know of one, please contact him through or drop a note here.

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.

Body Spray Machismo and Superficiality

In the Philippines, one of the latest products being peddled on TV is the new Axe Apollo body spray. Don’t get me wrong here. I’m not reviewing the body spray. I could care less with all that machismo and chauvinism that is so appealing to many men in Filipino society. The reason why I’m talking about this is because of the fact that the said TV ad sums up the value system of contemporary society: image over substance.

The gist of the TV ad is this: Some hero-type fireman hunk rescues this pretty lady from a blazing inferno. Instead of the usual gratitude that such an act would merit, we then find out that the woman runs toward this guy wearing a space suit in the middle of the city.

Now, here’s some food for thought. What is it exactly that this silly astronaut suited guy (we don’t even know if he’s a real astronaut!) do to get that shallow woman running after him? Unless astronaut guy was married to that shallow girl, I can’t see any reason why this whore would run up to him. What he just did was perform that slow cliche walk and look “cool”. What a load of crap! Is that how you’re supposed to be thankful to the person who has saved your life? The shallowness of it all is sickening!

This TV ad teaches a fact in postmodern society: Image is more valuable than talent or character. They say, “To see is to believe,” even if it does not have any substance. This is what, unfortunately, TV is trying to teach children today: looking “good” or “hot” or “cool”, whatever it may be, is more important than your skills, talents and character. It is the complete opposite of what the Lord values. Once more, this TV ad reinforces the fact that man looks outward rather than inward.

The passage in 1 Samuel 16:7 reads, “But the Lord said to Samuel, ‘Do not consider his appearance or his height, for I have rejected him. The Lord does not look at the things people look at. People look at the outward appearance, but the Lord looks at the heart.” How I hope that people would keep such words to heart and reject man’s empty value system based on superficiality.

Close-Mindedness Can Be Very Irritating

I grew up as a fan of metal. I should be because I started out playing in a band that covered Metallica. Naturally, therefore, I would love thrash metal. Heck, I still do. Of all the Big Four thrash bands, Megadeth was up on my list simply because I think their musicianship was the most superb of them all. My favorite Megadeth album is “Rust in Peace”. Fast forward 2013, they released this:

Hmm, okay. I wouldn’t call this thrash metal. It’s some kind of hard rock that is more akin to a Mr. Big hit than a thrash metal anthem like Slayer’s “Angel of Death” (by the way, RIP Jeff Hannemann). I have seen how some fans have started to hate Megadeth because the band has the desire to expand its fanbase (and perhaps earn a lot of money in the process). Who could blame them? They got families to feed, bills to pay, etc. They do this for a living. This has to be respected rather than bash Megadeth for seemingly selling out.

I couldn’t really stand how narrow-minded or close-minded rabid thrash metal fans can be at times. Can’t we respect the band for trying out something else? I mean they’re artists. You can’t expect an artist to put out something like “Rust in Peace” every year or so. That’s the kind of thing that kills innovation.

So, for fans who are disappointed with Megadeth’s direction, please shut up. You’re not doing anything good. Hey, I would agree that this new Megadeth song isn’t really something that I’d be crazy about but you have to respect the fact that they’re living up to their name as ARTISTS and not mere parrots that repeat the same thing over time without meaning.

How to Win a Government Seat in the Philippines

1. Be a member of the oligarchy or a political dynasty. If you’re Filipino, you already know the names. Chances of winning with this method is very high. The Aquinos, the Marcoses, and the Estradas are some of the names that come to mind.

2. Make a name for yourself in showbiz and be involved in a lot of publicity (positive or negative doesn’t matter). In the Philippines, politics is the next step in the career path of has-been actors and actresses. The odds of winning range from about 50% to near 100% with this tactic. The most successful example is Joseph Estrada.

3. Attend the Philippine Military Academy, launch a coup d’etat, surrender to the government, obtain amnesty, and then campaign for a senate seat. You gain a good chance of winning with this tactic not because of perceived competence but of notoriety and the ability to pull people towards a “cause” of some sort. Classic example is Honasan but the latest example is Trillanes.

4. Be the leader of an activist group. Perhaps this provides about a 50/50 chance of winning. It doesn’t really matter what cause you are pushing as long as you are noisy and you complain a lot on national TV. The commies come to mind.

5. Have loads and loads of money to spare. This tactic is very useful for converting voters from opposing camps to your side. This tactic can greatly improve the odds of winning because of the greedy nature of the Pinoy voter. A common tactic amongst political aspirants, almost everybody running for office uses this tactic.

6. Have actual competence and a proven track record in public service. This tactic does not guarantee a win. Dick Gordon is one of those rare individuals who can win an election because of this.

So, as you can see, because of the damaged society that is the Philippines, the described tactics, with the exception of #6, can guarantee a seat in government. A government seat in the Philippines is considered to be a mountain of gold. No wonder why there are many Pinoys who groom themselves and their children for public office, despite the fact that competence is not amongst their list of “redeemable” qualities. I have to recognize the fact that these politicians have a degree of intelligence in that they exactly know how to manipulate the Filipino into getting them elected.

And so, you can expect to see another three years of mediocrity, nothingness, and chaos after May 13, where people follow the lives of politicians as if they were watching their mind-numbing soap operas.

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.