New Music Project

For the last few months, I’ve been working on a new music project with my good friend Luke McNeely. It’s mostly 8-bit “chiptune” music, made using old-school video game sounds and instruments. Don’t laugh, it’s a lot harder than it looks! But between the two of us, we’ve spent thousands of hours listening to really amazing music written by greats like Takashi Tateishi, played through Nintendo and Atari game consoles.

We decided to call our group “Not Entirely Unlike Chiptune” as an homage to Douglas Adams. So, if you like old video game music, were a child of the 80’s and 90’s, or just want to hear something different, check us out on Twitter and Soundcloud.

Our first official project is an 8-bit tribute album of one of our favorite bands, Five Iron Frenzy. We’re releasing the songs as we go, rather than holding out till we’re finished. Feel free to check it out!

https://soundcloud.com/notentirelyunlikechiptune/

8-Bit Frenzy

MIDI Controllers: Not Just For Keyboards

I’ve been working on my new guitar pedalboard, with the idea to have a 1U rack space and two rows of pedals. This should give me more possibilities in less space than a monster controller pedal, using stuff I already have. However, with a rack effect unit (and even some pedals now), you need some way to control it.

(This picture is a bit different than it will look when finished, but you can see the 1U rack unit. The MIDI pedal will go where the Roland interface is in this pic)

Pedalboard

Next to go on the board is some sort of MIDI pedal that is capable of sending Program Change signals to the rack unit. Ultimately, I’d like one that does Program Change, Continuous Controller, and a tap-tempo MIDI clock. As far as I know (and I’ve researched it endlessly) I can get two of those features in a pedal, but not all three. It just doesn’t exist as far as I know, outside of custom $1000 setups.

Well, if I had to choose between two of those features, one would have to be Program Change. And as far as MIDI clock tap-tempo, I only know of a few pedals that can do that. The cheapest and most flexible would probably be the Molten Voltage “Tempode” pedal. I also discovered that Molten Voltage offers a pedal with the same functionality, plus simple up/down program changes called the Master Control. For the price of a Rocktron MIDI Xchange, I can get the same functionality with tap-tempo MIDI clock and start/stop.

So, how exactly does this MIDI stuff work, and what do PC, CC, and MIDI Clock messages do, exactly? And why do you need them? It depends on what you have on your board, and how you want to control it. Lots of new effect pedals can use MIDI too, including ones from Boss, Strymon, TC Electronics, Line6, Eventide, and so on. Continue reading “MIDI Controllers: Not Just For Keyboards”

Linux For Guitarists Episode 2

If you managed to make it through the first step of getting Linux installed on a computer, then we’re ready to go to the next step, which is finding a decent audio interface to use for live guitar performance. This is Linux for Guitarists, Episode 2.

If you want to play guitar through your computer, you’re going to need some way to plug it in. The best way to do it is with an audio interface. Specifically, you want to look for one that has a “Hi-Z” input. This makes the input jack have the correct impedance for your guitar to sound right. If you want a better explanation of why this is, check out this video on Impedance by Nick Jaffe.

I’ll give you fair warning: most manufacturers are going to cheaper platforms, and putting most of their interface’s features in software. I mean, they only have to write the driver software once, and it costs them nothing to duplicate it. Hardware costs money! So what that means for us is that a lot of these will only work in the most basic ways in Linux. If you know this going into it, you won’t get as frustrated, but I’ll tell you now, there’s only a handful of interfaces that work 100%. One of them is what I have, a Roland UA-25EX. It has hardware switches for settings and a hardware compressor, hardware everything, and it’s USB class-compliant, so it just works.

You may not be able to find one of these, so what you want to look for is something that specifically says “USB Class-Compliant.” That means if you plug it into anything, it will at least work to get audio in and out. The advanced features probably won’t work, but that’s generally not a problem. If you want to see what interfaces are known to work, you can go to the Alsa home page and look through the list. Also, most Firewire interfaces will work, but again, you’re gonna want to check and make sure. I have heard reports that the Focusrite Scarlett 2i4 works perfectly in Linux, but I don’t have one to test yet. It’s still in production, so if you can’t find a Roland UA-25EX give the Focusrite a try.

To install an interface in Linux, you just plug it in. The audio drivers are already built into the kernel, so if it works at all, it should just work. You can plug your guitar into the Hi-Z port, and see if you can get it to record something. If you can get it to work at all, you’re set! It’s all playing with software from here.

I’ll also add, you’ll probably want to find an interface that has MIDI in and out too, but if you can’t, you can always get a simple USB to MIDI cable. They sell them on Amazon for like $19, and they’ll work fine for what we’re going to be doing with it.

Okay, that’s about it! Next episode, we’re going to talk about the two main software packages, Guitarix and Rakarrak. We’ll be talking about how to get a decent guitar tone to start with, and then we’ll get into effects later on.

Again, thanks for reading, and keep on rocking!

Linux For Guitarists – Getting Started

I’ve been messing around with Linux since about 2001, been playing guitar since about 1992. I’ve done lots of projects with Linux over the years, but the last couple of years I wanted to use Linux as a platform to make music with. I’m not a professional blogger, nor a video expert, but I know a lot about being a geek and being a musician, which is why you’re here. I originally wanted to do Youtube videos, but I’m really better at writing. It would be a lot more informal, like hanging with your Geeky tech buddy. But in the end, I just didn’t have time to make videos of the quality I’d like. So for now, I’m your Geeky tech pal who’s a Linux Guru and just so happens to love playing guitar. Welcome to Linux for Guitarists, Episode 1.

There’s been plenty of stuff written about Ardour, and a bunch of other open-source music tools, which is fantastic. But when I started to try to learn more about guitar-specific stuff, specifically performance-oriented software, I discovered there’s actually very little out there.

Now, a lot of people are intimidated by Linux, and I understand, but it’s not that bad. It gets a bad rap from people that haven’t really used it that much. But I’m very comfortable with it, so I feel pretty good about helping you with it. I’m not gonna go into the reasoning behind it*, but let’s just say, if you want to use something besides Windows or OSX, for whatever reason, you’re in the right place. Continue reading “Linux For Guitarists – Getting Started”

MIDI Effect Sequencing Software For Guitarists

As many of you know, I’m working on a complete open-source solution to doing guitar amp and effects emulation in Linux. Because, you know, I’m a geek like that. So far, I’ve had great success with Guitarix and SooperLooper, and added a few other tools and utilities to make everything work smoothly. I have to say, considering what the equivalent software would cost, I’ve been pretty impressed with Guitarix. (Rakkarak might someday be a viable performance alternative… it just needs a complete UI redesign. Yes, it’s really that bad.)

One of the guitar effects that I’ve been curious about is an effect sequencer. Some hardware equivalents would be something like the Electro Harmonix 8 Step Program, which lets you sequence a signal that goes to the external control pedal jack of another effect. (Demo video and good explanation of step sequencers (not mine) is here) Continue reading “MIDI Effect Sequencing Software For Guitarists”

Take The Red Pill..

Not sure what to call this… it started as a funky NES chiptune, and kind of morphed into a techneaux/dubstep/art piece. Throw in some clips from one of my favorite movies, a little 808 beat, and there you go. Most everything is done with pretty simplistic square wave synths, nothing really fancy going on there. I used a lot of “slightly” modified waveforms… took a square, and added a bit of noise. It gives it more of a genuine chiptune feel, more lo-fi. There’s a few other tricks in there, specifically using square/noise waves and filters to do percussion. I’m still learning, but it came out okay. Hope you like it!

“Formulaic” Is a Four-letter Word

As I’m listening to Praise and Worship radio on Pandora, I’ve noticed a trend. It seems like what 90% of the songs are doing is re-hashing top songs from 3-5 years ago. In the secular music world, you don’t have 5 artists doing the same song on the radio at the same time, do you? Is the Christian music market becoming so formulaic that all you have to do is cover a few songs, speed them up 15 BPM and add a strong drum track with a backbeat? Does that justify a new recording? Are they really doing anything different? To their credit, there are a few artists who are getting airplay that are playing original songs, not in the “Nashville Standard” sounding format.

It thrills my heart to hear people doing new music for God. As much as I like the standards (and a lot of the “new” standards) it shows much more skill, talent, and calling to produce new worship music that doesn’t fit the Nashville radio formula.

Do yourselves a favor, listen to new groups like Starfield, Mali Music, and a slew of others. They are either 1. playing all new worship music, or 2. playing old and new, but with a very unique style.

After a while, even the “tried and true” worship albums get old. You can only listen to so many remakes of “Revelation Song” or “Open the Eyes of My Heart” or “In Christ Alone” or… you get the idea. Those songs are fantastic in their own rights, but let’s be real. The original artists pretty much gave it everything they had, and you’re not going to top that by trying to recreate that performance. If you’re doing a concert somewhere, I can see playing a few songs that everybody knows. But releasing an album of “classics” from less than 10 years ago? No. You’re not doing the original artists or songs justice. You know, at some point, Michael W. Smith was an unknown songwriter. He didn’t start off with “Place in This World”. Chris Tomlin had to sit down and come up with “Indescribable” on his own.

Heck, there are plenty of long-standing groups that don’t re-hash songs. Guys like Steven Curtis Chapman. Even though he’s from the Nashville area, his music never seems formulaic or stale. He’s always writing new stuff, and to top it off, he’s a phenomenal guitarist in his own right. Israel Houghton writes a lot of new music as well, and does it in a way that’s very fresh. Groups like Salvador, Third Day, the O.C. Supertones, and Audio Adrenaline. They all do worship music (and other thematic music) that’s fresh, well done, and unique. You’re hopefully not going to hear weak re-hashes of “Holiness/Take My Life” on their albums (unless it’s a live album).

It seems to me that almost everybody wants to copy Chris Tomlin, and rightly so. He’s one of the most successful CCM artists in the last 10 years or so, even surpassing greats like Michael W. Smith. His band’s sound and musical style is very close to U2, even down to the delay-drenched guitar riffs over soaring vocal refrains. The problem is, Chris Tomlin has already done Chris Tomlin (and, some would argue, so has U2). His “formula” (and even singing his exact songs) isn’t going to work for every new artist that comes along.

And so, I want to end with two thoughts. First, I don’t want to make it seem like all artists are wrong when the redo a Worship song. Usually it’s not even their choice, most of that is decided by the record label (which is a whole other rant). But secondly, I want to encourage you, the listener (and those of you who play music, too) to not just re-hash your worship experience. God is so vast, so incredibly complex and unknowable, there’s no reason to limit your worship of Him to the latest top 10 CCM hits. He is the ultimate in creativity, and as His creation (and followers), we are called to bring Him glory. Re-hashing music to “make it” in the industry isn’t really doing God, or yourself, any favors.

This applies to writers, too. Don’t feel like you ever have to write in a specific formula/genre to “fit in” to the market. Write what God has laid on your heart, and that’s where you will find Him.

 

My Guitar Setup

Some of you may have been wondering what my actual guitar setup looks like, so after some prodding from the Google+ Worship Guitarists Community, I decided to make a short video and explain what I’ve got and why I’m using it. Let me know if you have any questions.

In my quest to minimize, I will probably be rearranging some of this equipment, but I will still keep an actual amp setup in case my computer crashes in some way. Just wish MIDI controller pedals were cheaper on Ebay! Sheesh.

Music Looping Hardware

I’ve been tossing around the idea of looping with hardware for quite a while, basically since I first heard of it a few months ago. It would allow me to perform music with much more flexibility than just me playing a single instrument, and it is a lot of fun, too. I am now at the point where I have to decide what kind of setup I want to use, and work on getting it functional in my setup.

If you’re interested in this kind of thing, there’s three routes you can go: a dedicated looping pedal, an analog tape delay (or equivalent), or a computer with software. Here’s a brief look at the three, and why I chose the last one.

Looper Pedals

These would include pedals by Digitech, Boss, Line6, and a few others. Each company makes a few different models, each with more buttons/features than the last. The two most popular are the Boss RC Series, and the Digitech JamMan series, both of which come in different sizes and with different features. Continue reading “Music Looping Hardware”