Just read it. Trust me. (h/t to Jim Barnette for the link)
August 31, 2010
August 16, 2010
Interview with a Rock Star
Queen’s Brian May- Rock god, guitarist, and… astrophysics PhD. (h/t Robert)
August 1, 2010
Five Notes Wonder
The coolest thing you’ll see today.
works in Western diatonic as well as non or pan-diatonic based musical cultures. Wow!
First, they came for the cello players…
Broadway continues the process of removing live performers from their live shows in favor of recorded instruments.
July 28, 2010
Golden Age
Several of the arguments against the period-instrument movement had bite. They reflect the skepticism regarding the possibility of knowing the past that dominates today’s universities and that gets used (improperly) to justify junking the study of history, philology, and literary tradition. The proponents of period performance heard and considered these sophisticated objections. Then something wonderful happened. They responded, in essence: “Yeah, whatever.” They tweaked their rhetoric, junked the term “authenticity” and anything else that sounded too authoritarian—and went right on doing what they had been doing all along. That is because their hunger for the past—for discovering how the musicians at the Esterházy palace interpreted crescendi or how much vibrato a cellist performing Bach’s cello suites in the 1720s would have used—was so great that no amount of hermeneutical skepticism could extinguish it.
July 15, 2010
Quoth
I’m a professional musician — composer, arranger, producer, worship leader, jazz performer. The times when my work becomes tedious and sloggy, which happen often, are the times I can look back on with most joy, because there’s nothing mere about a job, and there’s nothing mere about digging into it.
context here. Couldn’t have said it better. Couldn’t have said it as well.
July 12, 2010
June 27, 2010
The Cat and the Moon
Totally infectious. Expect to hear this again at some point. I’m in LOVE with this song! (Go directly to the link. Embedding has been disabled. It’s worth it!)
June 17, 2010
May 25, 2010
May 20, 2010
May 4, 2010
The Virtual Choir
Beautiful! I wonder how long the edit took place. The audio is extremely clean, and I can’t help but wonder how the producers overcame the differences in mic quality on each end, as well as little things like having 200 people turn pages at the same time right next to the mic. Not to mention the massive rendering time this must have needed. What a great experiment!
h/t to my friend Mike Kost for the link.
*UPDATE* Just listened to the BBC interview with Eric Whitacre at the bottom of this link, and it’s really good.
April 28, 2010
April 23, 2010
Apparently, All He Needed Was a MIDI Keyboard
In an article titled New Software Processor Can Transcribe Music From Any Performance:
If only Mozart had this , Popular Science talks about new computer software that can listen to any musical example and transcribe what it hears. What they don’t realize is that Mozart (and any decently trained musician) has been doing this very thing for years. It’s neat technology, but I don’t think it threatens our jobs much.
April 14, 2010
Success!
Erin just called me from her UIL performance and told me that she nailed all the songs! She’s been down in Buda for two days working with the choirs. Congratulations to my sweetie for working so hard for so long on these tough, tough pieces. Drop her a line or hit her FB page to say congrats.
Steak dinner to celebrate. I’m proud of you, Erin!
April 12, 2010
Quoth
In most fields the appearance of ease seems to come with practice. Perhaps what practice does is train your unconscious mind to handle tasks that used to require conscious thought. In some cases you literally train your body. An expert pianist can play notes faster than the brain can send signals to his hand. Likewise an artist, after a while, can make visual perception flow in through his eye and out through his hand as automatically as someone tapping his foot to a beat.
April 6, 2010
Work Thoughts
Every so often you come across a tool that completely changes how you work. Even more, how you think about your work. It’s the equivalent of a hand saw user suddenly being given a bandsaw, or a guy with a shovel sitting down in a backhoe. It’s not just that you can do what you used to do faster, it’s that what you used to do suddenly seems very limited as whole new areas of ability open up to you.
That’s the way I’m feeling right now about Logic Studio. I got Logic as part of my major studio upgrade a few weeks ago. The upgrade has been in the works for several years and I’ve been postponing it for a few different reasons. I knew it was going to be expensive (deep into the four figures), and I knew that it would come with some growing pains. How would I continue with the workflow that I’m so accustomed to? What if the new hardware and software won’t allow me to do something I want -or need- to do? How much will it slow me down? What if it’s all a very large, very expensive mistake? I’ve been boring friends and family alike for years with my nervous ramblings.
Now that I’m on this side of it I wish I could go back in time and club my former self over the head with an outdated MIDI interface. Of course I’m going to have to change work habits. Whenever you go from this:

to this:

there are going to be some growing pains. And brother have there ever been. I spent four whole days trying to get something simple to work with eventual hard-fought success. Yes, Logic is a professional level MIDI sequencer, but that’s only a tiny, tiny percentage of what it does. I won’t go into it here, but you know that guy with a shovel? Yeah, I’m him, but my shovel was buried and I’ve been given a whole team of dudes with heavy construction equipment and a serious set of blueprints.
I’ve spent quite a bit of time working through the concepts of Logic. It’s been immensely helpful for me to subscribe for a month to Lynda.com and work through their online video courses. I feel like I’m back in school getting my audio engineering degree again! I can’t say enough about this great site. They have hundreds of online courses covering just about any software topic you can imagine. The $25/month seems paltry now compared to how much I’ve learned in just a few days.
Anyway, I’m still a total newbie at it, but I’m gradually scooping out a Logic-shaped hole in my brain as I try to get my mind around how it thinks and what it can do. What’s this funny button here? What’s that command mean? Why does everything about the program change when I click this simple toggle? HEY! WHAT JUST HAPPENED?!?! Stuff like that. It’s not that the way Logic does things is bad, just different. And, Apple software though it is, it was still designed by a bunch of left-brained Germans. I guess it’s appropriately named.
I keep having epiphanies and running downstairs to tell Erin about them (bless her). I’m slowly and painfully uprooting my workflow which has developed over two decades, but I’m finally starting to think that I’ll be better off in the end.
One more thing. When I bought Logic Studio I decided to go ahead and upgrade my current version of Digital Performer- a competing product that is more like Studio Vision Pro than Logic, and much more limited than the Apple software. The upgrade price was small compared to my overall investment ($195), and there are some older files I might need to access. The package just came via UPS and I’m looking at it next to the computer now wondering if I even need to install it. Oh well, at least the big thick manual looks impressive.
April 3, 2010
Apple Just Sold another iPad

iPad MIDI/DAW Control Surface. For $9.99 (well, plus the iPad), you can get functionality that would cost you a whole lot more in a closed ended, non-updatable hardware control surface. Sold.
March 28, 2010
Logical
I’ve spent most of the day reconfiguring my studio and trying to integrate all the new gear. The audio interface (a MOTU UltraLite Mk 3) is wired in and I’ve managed to chase most of the buzzes and hums down. I also got the Midi interface (MOTU Midi Express 128) in place and everything is wired up and communicating correctly.
The bad news is that, if I want to use any of my MIDI instruments, it looks like I’m going to have to type in all of my old instrument names by hand. Several thousand of them. There doesn’t seem to be any way for Logic to auto load them, and I haven’t found a utility online to do it. I’ll keep looking, though.
The good news, the very good news, is that I will possibly never touch the old MIDI gear ever again. I’ve been auditioning the sampled sounds that come with Logic and Soundtrack Pro and… holy jumping Judas on a Vespa, WHY didn’t I make the move to sampled sounds before? It’s just stunning the difference. It’s like going from riding around in this:

to suddenly being shoved into the cockpit of this:

Yeah, they’re both red, and they’ll both get you there (kind of) but I know which one I’d pick. In thirty minutes I’ve knocked together a tune that sounds miles better than anything I ever did on MIDI. And I haven’t even loaded the half-terabyte, seven library bundle of East West sounds (I’m waiting on the giant 2TB hard drive).
I’m a long, long way from getting my head around Logic Studio, but the sounds are going to totally change everything. Just wow.
Here’s a quick audio file I threw together in just a few minutes with the first sounds that came up in the sounds browser. Didn’t edit, mix, or do anything but bounce it down. Quite a change from MIDI.
March 26, 2010
Equipment Overload
It’s fun integrating a bunch of new equipment into the studio, but right now I’m feeling totally overwhelmed with the amount of new hardware and software. Audio-wise I’m 100% (no worries on the mix, Storme, Andi, and Lee)- the audio mixing portion isn’t changing much except for a new interface, but those are transparent once you get them hooked up. What is changing is the way that I do my composing. Learning not one, not two, but five major programs has my head feeling like it’s in a vise. It’s all blurring together.
Final Cut Studio
Logic
Digital Performer
Waveburner
East West Play sample engine
Yikes!