August 2008


What kind of music do you play? A seemingly innocent question, but is really loaded with complications and pitfalls. I know I’m not alone when I have trouble answering this one. Many musicians find themselves torn between giving the simple answer or the complex one. It is rare that one would enjoy, and be influenced by, one type of music to the exclusion of all others.

I understand the need for people to compartmentalise as a shortcut to making sense of their world, but this need is at odds with our need to be understood. Sure we could rattle off the closest genre, jazz, hip-hop, punk, world beat, though we’ll be left with the unsettling feeling that the questioner doesn’t have the full story. We’ll often add, “… but I have a lot of Rockabilly influences” or “… with a Latin twist.” or “but with a lot of Frank Zappa mixed in.” As for myself, I was raised on Folk music, taught Classical on the piano, and Blues on the guitar. I got caught up in the Grunge and Alternative movement during my teens, and later turned more to Worldbeat, Garage Revival, and Anti-folk. Yet this still doesn’t include everything that has contributed to my musical being, and frankly I still don’t know what to call the music I produce. Rock may be a catch-all but as I mentioned above, it’s not quite the full picture.

A list of known genres is huge and splintered, as encompassing descriptions are riven and riven again to describe a style with ever increasing accuracy. Let’s say that you produce electronica music. Now what kind? Synthpop, Glitch, Chiptune? Something else? How about Metal? Black, Speed, Doom? It soon becomes an exercise in distinguishing subtle taxonomic shifts in tempo, or lyrical content, or any other characteristic. Sometimes the variants are so finely divided that only those thoroughly steeped in the subculture would be aware of the differences. There’s the sticking point. By giving an name to the thing we allow ourselves to form community. The music now has a stable identification that can be defined, related to, discussed, altered, and displayed. It becomes a banner that unites a ragtag group of fans and musicians signifying their belonging. Such a growth can be seen in the example of Filk music.

When someone asks what music do you play they hope to gain a better understanding of what flag you fly. Which really speaks to how much we use music as an identity signpost. Not to sound obvious but music is a form of expression. What you express and how you express it tells the world about you as a person. Music is a well understood and recognised shorthand for categorising types of people in this modern social landscape. Which may be why I don’t like answering the question. I don’t want to give someone the Coles notes version of me. I’m afraid something will be lost or misunderstood in the transaction. As musicians we all have that need to express ourselves. We try to do this fully yet succinctly in the brief time that a song lasts. I’m not surprised that we’d rather not a label be stuck to what we do so that we can be summed up in even less time, thought, and accuracy.

There is no easy answer to the question. No one is ever as simple as the box you put them in, and everyone is resistant to being boxed. When pressed to answer the query “What kind of music do you play?” the best answer I can give is “My own.”

For all those interested in building your own instrument visit Harp Kit. They have all sorts of kits and plans available for a myriad of traditional instruments. Harps, dulcimers, banjos, even a Hurdy Gurdy! I wouldn’t mind picking up a guitar kit so that I could build a fretless guitar to experiment with.

http://www.harpkit.com

Photo of Beavis Board baseMe wanty. dano at beavis audio research has released the Beavis Board. This makes prototyping guitar effects so much easier. I’ve played around with a couple of breadboards, building fuzz circuits here and there, but was always disappointed by having jacks, 9 volts, and switches hanging off umbilicals. It became too much of a bother to get set up, and was certainly something I’d want to be working with for any amount of time. Unless you want to commit to a protoboard, projects look like a handful of rainbow spaghetti. With the Beavis Board, I can see hours of endless fun tweaking pots, and swapping caps without worrying about constantly dislodging dangling devices.

There are so many DIY stompbox sites out there, I’m amazed that this hasn’t been done before. There is an opensource DSP effect prototyper called Coyote-1 which is offered by Howler Audio though I don’t see any actual pictures of the unit anywhere on the site. If anyone has bought one, let me know they exist.

The beavis board is designed to give you a platform for learning and building. If you can follow along with simple instructions, you can start building and modding a classic and new stompbox circuits.

Read more …

Some time ago I went plugin happy. Actually it was more plugin mad. I trolled through sites like VST Planet and Audio Mastermind searching for the elusive plugin that would make my recordings sparkle. Just the faint promise of breathing life into the guitars, or polishing the vocals was enough to sell me. Soon my plugin folder was awash with oddly named effects that rarely did anything discernible. Most I never use, but I was comforted by the thought that I could if I wanted to.

The tyranny of choice. That’s what it comes down to. I played around in a local music shop with a Line6 Pod and was struck by the number of combinations available. With 32 amps and 60+ effects that is over 1920 distinct combinations. It would take quite a while to plough through them all. Pretty soon you’re not playing, but rather playing around, trying to settle on the right sound.

If I had to offer advice to those who are looking to jump into the effect market to tweak their music it would be this: Think of how you want to sound first, then limit your choices to put you in that direction. Good recording and good production may dupe people briefly into liking what is otherwise flat material. One can spend great amounts of time getting the right sound to liven up that which is flawed by bad playing, recording, composition, expression, or whatever. The audience is infinitely more forgiving of sonically imperfect experiences than we are apt to believe, provided the performer can entertain that is.

So forget the giant multi-effect boxes with their plethora of distraction. Instead polish what you have. Learn to compose a song that will stand on its own, without the aid of high production value. Learn how to perform in a way that is expressive without the use of an expression pedal. You will waste less time flipping through presets and twisting knobs, focusing so intently on the quality of your sound, and will spend more time focusing on the quality of your music.

Writer’s block is a real bitch. I’m trying to get something new written before going to an open stage later this week, but I’m having a hell of a time. Nothing I’m coming up with feels inspired enough. Sure I could knock out another three chord trick, or four chord turnaround, but deep within is this nagging feeling that I’ve done it all before.

I fired up the keyboard last night in an attempt to get the juices flowing. I normally compose on the guitar, which usually means I create a harmonic structure first then flesh in a melody. Clearly it’s not working for me right now so I thought I should approach it from the other end and build up a melodic structure, which I find easier to do on the keys. It’s also easier to flip around in the various modes. I’ve never really composed with a specific mode in mind. Having an artificial limit may help me from falling into the old ruts. Alas, two hours of tinkling away have yielded nothing.

If I meditate hard enough on the circle of fifths like it were some mandala, maybe I’ll reach an enlightened state where music just exists within me and all I have to do is play. Until then I must slog through writing, discarding, writing, discarding, writing, discarding.

I think some of the problem is attaching too much importance to the work itself. Sometimes when I’m sketching my best work is done on scraps of craft paper. Quick one offs that I never expect to go anywhere or be shown to anyone. I should try this approach. Just start recording and go. Who cares what happens, just play. If there’s anything worth saving I’ll have it recorded.

Okay, it’s recommendation time. Last night I restrung my guitar. It was sorely needed and I thought it would be the perfect time to try out ribbon wound strings as I’m currently playing around with a new guitar slide. For those that don’t know, ribbon wound, or flat wound strings, are strings whose overwindings are made with a flattened wire rather than a round one. This eliminates the ridges you would normally find on guitar strings. (A more in-depth explanation)

The strings that I put on are D’Addario Chromes High Finish Ribbon Wound Electric Guitar Strings. That’s quite the mouthful. I’m impressed with the sound. Though they aren’t as bright as my usual strings they do offer a warm, clean tone devoid of finger squeaks. Admittedly the lack of ridges is somewhat odd to get used to. After 18 years of playing with strings that have some grip I need to adjust to how my fingers now glide around. In a way it’s better for noodling around the blues scales. I can move my fingers into position faster and more smoothly. My hand just slips around on the fretboard throwing in grace notes and glissandos where ever I please.

The extra cost has always stopped me from buying ribbon wound strings, but now I may reconsider my purchasing decisions. Maybe I’ll pick up string cleaner in order to make them last longer. If you’ve never tried flat wound strings before I suggest you don’t wait 18 years like I did. The way they alter your sound and playing is worth the few extra dollars to investigate.

Get some strings…