Discovered Hauptwerk Virtual Pipe Organs

March 13, 2012

I recently discovered virtual pipe organ software, Hauptwerk, from a new coworker who is a serious pipe organ player. He hasn’t built his virtual machine yet, but I am able to assist in planning. It’s obviously a DIY endeavour where the final product is as unique as owner because of the modularity.

What really intrigued me was all of the options to retrofit any and old instruments with MIDI. The Hauptwerk lists a few such manufacturers. I found one, Eobody, that really takes it another level basically creating a great deal of modules that are compatible with all sorts of sensors sensors that can converted to MIDI for practically limitless installation purposes. (Think accelerometer, like in a smart phone, as an instrument.) Now I know how BT had some of those prototypical Roland D-beam knock-offs.

Running ReBirth on Linux made me want to run Reason too

September 11, 2011

Last weekend I learned how to get Propellerhead’s ReBirth RB-338 to run on Ubuntu Linux using Wine.

It was great, and I’m quite happy to finally use my new-to-me used portable computer to make music instead of just using it for the typical online life bullshit. After all, I once had a very nice mobile music setup until I fried my laptop five years ago trying to run Linux and Palm Visor PDA on it, and I haven’t had any mobile music since.

Since I got my netbook, I considered it only lightweight enough for web surfing and such. Then one day, I Googled “run rebirth on linux’’ and found a post describing how to do it from a cool blog that I now follow. After about an hour of learning new things, like mounting ISOs, I got ReBirth RB-338 running on Linux, and it made me a happier camper at work that week. Now I’m older and wiser and more patient to learn its not-too-intuitive ReBirth’s interface. It was perfect because ReBirth is designed for small screens, which translates very well to a netbook.

Later that week, I got zelous and wanted to run Reason on this netbook and recreate the good ol’ days of me making beats on the go. All week all I could really think about was how to get Reason to run because this installation process wasn’t as easy as ReBirth because uses several CDs. By Saturday night, I learned more about a corner of Linux that I wondered when would I ever learn about it (i.e. directories other than home/, var/, and etc/), and then I messed up my netbook so badly that I had to re-install the operating system today, never getting Reason to work.

The silver lining was that during this installation of the OS, I documented all the installation steps that I’ve completed so far. If I had a real optical drive on the netbook, then it possibly could have been easier to get Reason to run because the trick to it is to get Wine to believe one is loading real CDs, which happen to be simply ISOs in my case. People have gotten newer versions than mine to work, and other’s have documented the need to mount the ISOs, which I never successfully executed despite some unenthusiastic assistance from the Wine community.

I wonder if the problem was with my old version of Reason, version 2.5. I could bypass the whole issue regarding loading of CDs by using cracked software, but apparently my old version is not so easily available, and I insist on running the same version on the netbook as I do on my DAW, so that the same files could be played in both places. I insist on running legal software on my DAW.

Rearranged someone’s finished recording

July 2, 2011

A while back, a friend needed some help cutting a song for a friend’s wedding. The bride wanted the some parts extended and some cut out. So, the other day, my buddy came over with the song, and we knocked it out in one evening.

I learned that iTunes is the best way to convert its m4a files to WAV files, in which I can work. Then, I learned that nothing is simple. My friend explained the song manipulation that sounded like two or three cuts, which ultimately became over 20 cuts. This is a big deal on an already recorded song when you have to work with the final 2-channel stereo mix (yes redundant description) because in stereo mixes, cuts can easily sound way more obvious than on a individual channels. I also learned that I do not fully understand file handling within Cubase, so I’ll have to focus on learning that. I guess things have a changed a bit in the concept of files and audio regions since the days of Logic 5 (which I proudly used on a PC but then became a Mac-only product forcing me to do what I should have done a long time ago, started and stayed with Steinberg Cubase back in 1995 when I purchased Logic 3).

The funny thing about editing a song like this for a wedding is that I’ve worked a part-time job as custodian for probably 50 weddings, so I am familiar with the entire process of the processional and was able to suggest one thing, such as when he preacher should tell the congregation to rise for the bride. I guess that makes me a good candidate for an engineer for wedding music. Hopefully our final product works out for the bride in practice because we didn’t have enough cycles left to make further changes. Ah, methodologies of project management!

Listening to Tape

March 3, 2011

Recently going through old stuff, I moved my collection of tapes. For a long time, as that collection just collected dust, I thought I’ll probably never go back to this collection; I just replenish it the collection with CDs instead. However, over half the tapes were old recording of compositions I wrote and produced as a teenager, so those were obviously excluded from the plan to remove and replace.

Then, one sunny afternoon, probably the first day of 2011 when I drove with the windows down, (I guess it was February 23 according to what is about to follow) I heard a piece of story on NPR about cassette tapes. I recall thinking just how the tape medium really suites certain kinds of music, so I got excited about playing some tapes in my last functioning tape deck — in my car.

I found some old Megadeth tapes I made (from CDs I owned), and took them to the car. It’s just amazing how tape sounds on hard rock music — the drums, the harsh guitars, the sizzling cymbals — it just works with tape. It’s just amazing how hard rock music sounds on tape — the drums, the harsh guitars, the sizzling cymbals — it just works with tape. It’s almost like the foggy filter on soap operas that make everyone look better than they do in real life. I also listened to some Music Instructor hits, and given my spoiled ears of highly polished digital electronic music, the tape nicely glazes the gaps in the old-school 808 and other synths going through an analog board and probably to analog tape. I’m looking forward to listening to the rest of the collection.

Visiting an Old Friend

December 7, 2009

Yesterday, I reconnected with another old friend, Kirby, and we had rejuvenating conversation. As I expected, Kirby challenged me, which is really why I went to him, and force me to vocalize my personal plans.

Kirby has been there for me providing moral support ever since I became serious about music. It was because of him that I published my very first demo CD when I was 16. He explained to me that I will never feel completely ready to move forward or to make a leap, and that one simply must leap. Also, he explained to me then to never let anyone be the reason why you don’t pursue a dream because otherwise one will always resent that person. I’ve caught up with him over the years since then, but 11 years later, I am in the same boat in similar waters, just on a different part of the river and with more complex obstacles for consideration while navigating.

Because my plans are somewhat innovative, conveying all the concepts required effort to overcome predetermined facts of the music industry that are considered the norm. Basically, I walked away feeling that my efforts towards personal growth (which yielded the innovative ideas for business models) were not wasted efforts. Many people around me do not see the work I put in to educate myself about the world, and instead, people around predominantly see that I am not making music. I always knew this was a price to pay since I chose not to jump into the normal path of an aspiring artist, but Kirby also made me feel the price was either less than I currently believe or that it will yield greater fruits than I currently imagine.

I also met some interesting people at Kirby’s place. This was my first close encounter with a deaf person, a friend and collaborator of Kirby’s, and my first close exposure to sign language. This was the first time a deaf person’s thoughts were directed towards me and were translated from sign language, and it was the first time my thoughts were translated into sign language. The one thing that took me most aback was when the deaf person asked that I explain the kind of music that I do. When I was first exposed as a kid to the problem of explaining sound or music to a deaf person, I quickly concluded to never put myself into that kind of position, but there I was. For electronic dance music, we explained the culture of drugs and parties (although I don’t do drugs), and very hypotonic minimalist music. Then for the other kind of music (I left out Trip Hop) Neo-classical, it was described as where Bach and Beethoven would be today, excluding film scoring; it’s very jazzy and anything goes.

First Gig this Year is Over

August 31, 2009

My first gig this year is finally over.  I still get nervous when I play.  I especially felt nervous because I could no longer gauge just how prepared I am.  As always, once I started playing, I realized that most people are not listening, and I can get away with quite a bit.  So I tried to apply mental techniques to stay in the now, to stay focused on the music; I essentially blocked out the audience.  Plus, the air-conditioning in there was very loud, so I’m sure some of my softer notes were drowned in the vent noise; although, I did try to voice chords and moving lines clearer when that floor of noise came up.

When the wedding party began to file in, I forgot just what a professional I had to be considering the groom’s men line up in front of the piano, so I could not see the bride entering—not to mention, I did not know what the bride looked like because there was no rehearsal.  When I got a glimpse of the where the wedding party usually lines up and saw there was no one left in line but one couple with a large bouquet, I looked over at the pastor and he was already looking at me.  I was anticipating him to nod at me, but he did not.  It was the reverse: he was waiting for me to play the octave quarter notes of Wagner’s Bridal Chorus that queue everyone else when to stand up.  Or perhaps, from the pastor’s point of view, when to motion the congregation to stand up. In any case, once I commit to playing those notes, there is no turning back, not for me, not for the wedding party, not the bride.

When I can’t see the bride, and the pastor is blankly gazing at me, it feels like a leap of faith.  It feels like I’ll be judged if I mess this part of the wedding up.  It’s the grand entrance after all.  I might not get paid.  I can imagine that I would flush red from embarrassment, even though I tried to do the best I could with what I could.  Just after that leap towards those quarter note octaves, everything is quite the opposite of what I thought it was less than a moment ago.  It’s a position of power, like a clock in the town’s bell tower that synchronizes the community’s activities.  The bell rings, and the people follow because they stand up, and the bride feels welcome to walk down the aisle.

I play the Bridal Chorus slowly and majestically, not only because I prefer to indulge in each beat of the music, but because it’s easier to play it slowly.  Then, I have no clue and cannot see how fast the bride will walk down the aisle.  I don’t know if I should begin the next section of the piece or finish it.  I hope I can look away from the music and keyboard to assess the situation quickly enough to not miss a note.  For some reason, in that chapel, where I’ve played dozens of times, the bride always walked down the aisle faster than the time it took for me to play the first verse once.

So, I stop and wait.  The ceremony begins, no eyes are on me, and I quietly put my music away and prepare for the next piece, which this time was the Wedding March for the recessional.  No unity candle this time, so I turn the volume complete down on the piano and sit.  I’ve learned over time to mute instruments when not in use.  After all, I could sneeze or doze off and could crash onto the keyboard making a loud ruckus.  And why, when all I have to do is turn down the piano and play it safe?

To pass the time, I practiced keeping a straight back.  I looked at the music for the recessional and rehearsed it in my mind.  For a few chords, I even played them on the turned-down piano, but I could hear an ever-so-quiet sound still emitting from the piano, so I seized to play and resorted only to mental preparation.  Time passed slowly, and my back became stiff.  Finally, they were pronounced man and wife.  Again, I didn’t really quite know when to begin playing the Bridal Chorus.  Maybe I should have been more professional and remembered to ask the pastor what are his final words considering he did come up to me before the ceremony, introduced himself, and asked what I would play.  For a man who commands attention from a congregation, in retrospect, it seems like I lead the way.  I let him know when to begin to lead the wedding party down the aisle, and everything else, as you already know.

I noticed a positive reception of my beginning notes as the bodies turned to walk back up the aisle, so I put my head down and played away.  Mendelssohn’s Wedding March is a very powerful piece which really requires the performer to dig into the keyboard.  I couldn’t afford to miss notes into which I dig in, so I just kept looking down.

At the end of some phrase, I noticed the pastor waiving at me.  Of course, he wanted to make an announcement about the reception.  This is normal, although I never quite figured out why this is done when the music should be grand and fill everyone with joy that causes goose bumps and tears for the occasion.  But no, the music gets interrupted for a dry explanation (which sometimes even includes driving directions) of what everyone should do next.  I remember witnessing a wedding once where Beethoven’s Ode to Joy was performed after the Wedding March, and it was something unearthly to experience.  Maybe this comes back to project management.  A wedding, a project, still requires the fullest imagination to the final detail in order to leave the witnesses in awe and inspiration.  But any considerate imagination can imagine a wedding is not a process that everyone experiences more than once in a life-time, much more regularly enough to take note of such details.  Details like who should cut my check, which no one did until I asked for it.

Overall though, it was a pleasant wedding, as most are, and I’m really glad I was a part it.  It felt good to perform after such a long hiatus and was fun to dress up.  It even crossed my mind that piano performance is quite a complex skill that I’m able to do well enough for such occasions.  And although it wasn’t the most wonderful piano playing that I have ever done, it meant a lot those people and meant a lot to me to be the source of that—to be the brain that moved the muscles that moved the bones that moved the keys in such an order that created pressure waves in the air that eventually translated into an experience inside of each person’s head.

Then I had to throw my shirt into the laundry after only a few hours of wearing it.  It was pressed so neatly.  Despite I began practicing for this gig relatively late, since I procrastinate with piano playing, I had more music ready than I ended up needing.  That was a little surprising to me.  I guess it depends on how late the ceremony begins.  I just remember playing a wedding gig once where I had to recycle quite a bit of music and improvise on a single piece of music over and over again.  This time, everything played out very well.

Hello world!

August 17, 2009

Hello World!

This blog was created to document my journey composing and producing music.  It will give insight to my music, mind, and the processes.  I am simultaneously starting a blog also on Blogger, so feel free to follow on which ever platform suites you best because both blogs will have identical information.  The dual maintenance is also for testing purposes to see which blogging platform suites me best.  As I get closer to releasing my first major album, my website will be revised, and this blog may move to the website.

I’ve been away from music for too long.  The last time I completed a composition and recorded it was in 2006, which was a piece entitled eClipse, composed for my girlfriend’s birthday.

I have a wedding gig coming up where I will play solo piano, so I am trying to make myself prepare for that.  One of my real obstacles is that my electric piano has a constant crackling noise emitting from it when its turned on, and when notes are depressed, then the cracklings gets worse.  I have the wiring schematics of the piano, a Roland HP 1700; so I should be able to troubleshoot it.  I’ve been putting it off for about a year now.  At first I thought it was just the volume potentiometer, but after purchasing and spraying contact lubricant on the volume slider, nothing changed.

My next approach will be to look at the different audio inputs and outputs on the schematics and test them one by one to see if any of them is not putting out the crackling.  This should allow me to determine between which two connections is crackling is occurring.

Needless to say, the crackling makes practicing quite unappealing, not that most practicing most of my life was very appealing anyway (although now, I get to practice whatever I feel like).  So, I thought about where to get another piano for practicing.  I still have a grand piano at my parents’ house, but I don’t like people listen to me practice—and someone is always home at my parents’ house.  Plus, I don’t like driving that far just to practice.  I have a Yamaha P90 stage piano in storage, but not where to put it in my apartment.  Last week I browsed Facebook’s Marketplace application because I wanted to begin researching how to sell things.  Talk about an impulse buy: I started browsing categories and filters the listings down to Tulsa, and of the very few listings was a Yamaha CP-25, a vintage electric piano about as old as I am.  Money and space is tight, so I kicked the idea around with my girlfriend, and ultimately purchased it for $200.  I really like the sound because most of this keyboard is analog, and I frequently look for synth patches that sound similar to this keyboard.  So I thought, “Why not just get the real thing?”  It’s barely been played and word is they’re built like tanks, so now I have this not so small, but not too large, very heavy CP-25 taking up half of my dinky living room.  At least there is no crackling, but I’m surprised my modern Yamaha foot pedal doesn’t trigger the sustain function correctly.  The CP-25’s owner’s manual states a Yamaha FC-4 came with the keyboard, but not only did I not get one with this purchase, I also can’t figure out what model of Yamaha pedal I currently own.  I’ll have to dig up receipts for that.