Gear/Site Review: Virtual Keyboard

Once in a while I came across a music app online that I think is worthwhile not as a tool, but as an amusement. The Virtual Keyboard is just such an application. The Virtual Keyboard is a web-based app that is (apparently) part of a teaching resource site for the Birmingham (UK) area. But this is the web, and if we can find it, we can play with it.

What Is It?
The Virtual Keyboard is exactly what it sounds like. Think of the cheap bargain bin synth at your local department store. Remove some of the features. That's the Virtual Keyboard. The keys are labeled with the note names, which really helps when it is used as a teaching tool.

What Is That Noise?
You get a whopping total of 9 dreadful (fun dreadful, not the bad kind) synth instruments. When you activate the keyboard (click on the screen), you can use your computer keyboard to play, or you can click on the keys with your mouse. Actually, the sounds aren't all bad. The double bass has a good low end, and shakes a few things on my desk when I hit a low D. It does require a brief delay to reload when you change instruments, so you won't be switching in mid-song with this.

Give Me A Beat
The Virtual Keyboard also contains 6 canned drum patterns selectable to accompany your master works. The drums are actually pretty good. Most are pretty synthy/dancy things, but there's a couple good psuedo-latin percussion patterns(Patterns 3 and 5), and a decent straight ahead rock beat that could actually be usable (Pattern 2). I'm not saying you'd want to sample it on your next track, but it's still pretty good for the context.

Chord Mode
There is a cool mode that you don't normally see in any synth. Chord mode allows you to build a chord one note at a time. You click on all the keys in the chord, then click "Play Chord" to hear what you just did, without the need for actually figuring out the fingering on your own. This is really useful(?), since the keyboard is technically polyphonic, but the notes don't always trigger at the same time. You'll get more rolling notes than chords if you try to play it properly.

You Get What You Pay For
There are, as you might guess, a few features that it lacks, since it was designed as a teaching tool. Volume is the big one. Most of the synths absolutely overpower the drum beats, at an almost laughable level. There is also no velocity sensitive mode, probably because your mouse and computer keyboard are on-off switches, so there's no way to specify the strength of the velocity. Also disappointing is the lack of a tempo control on the drum patterns. After these "lackings", there should be no surprise when I point out there is no record/playback mode, which I would think would be a great addition to this as a teaching tool. After all, hearing what you really played versus what you think you played is a major learning experience.

Final Thoughts
If you've got kids (or want to act like one), this is a great web app to goof around with, as long as your speaker volume is kept in check. The organ will likely drive you nuts, as will the saxophone, but the steel drum, double bass, and pan pipes are fun to groove with.

With zero learning curve, this is a nice teaching toy. The Virtual Keyboard is definitely worth a few minutes diversion before you get back to the world of your own music.

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Then and Now Moment (AKA My Gear Is Too Good!)

I've been considering how the landscape of home recording has changed and evolved over the past 20 years, and we have come a long way. We now have more recording power and flexibility in our home studios than the top professional studios had available back then. Back then, the enemy was signal degradation and tape hiss. Now we actually have folks working hard to build effects to add in "better" artificial tape hiss to too-perfect recordings.

Yes, we have come a long way. How many tracks can you record at home? I routinely use 30 or 40 individual tracks in REAPER. The capacity is only limited by the power of your machine and how much horsepower each VST or VSTi or audio track need to process, and I've never dogged out my machine while doing real work.

But something feels different when I record and build songs in my studio. It has taken me a couple of years to put my finger on it, but I think I know now.

This is something that I feel made me stronger in the late 80s/early 90s. I had less power then. I had a LOT of systemic constraints. This forced me to get to the meat of what the music was trying to do, rather than allowing a lot of fluff to drift in and change my focus.

Fewer Channels
When you have fewer channels, you have to think more about how to accomplish the desired effect. My old studio was based on an Amiga 500. The Amiga had 2 left channels and 2 right channels. All 8-bit audio. That's it. Anything else had to be driven from outboard MIDI gear. I added a Yamaha RY-30 Drum Machine to take care of the bottom end (16-bit sounds!), but everything else was through the Amiga. 2 Left, 2 Right. And it worked. I made songs that sounded a hell of a lot bigger than you would expect. Occasionally, I would share a channel, but for the most part I kept it straightforward. Four instruments, usually 2 being a stereo-paired lead line that mirrored each other (with a slight offset so you added a spatial element/echo to the sound.)

Samples, Not Instruments
Another big difference between then and now is Virtual Instruments. VSTs, one of the most popular formats for Virtual Instruments, weren't released to the public until 1996. Prior to that you either had hardware instruments (i.e. real stuff), or you used audio samples. It seems to me that creating samples is a dying art. I don't mean just recording a bit from another artist and using it. I mean taking a raw sound into an audio editor, twisting it, rearranging it, and making it something fresh and new that has NEVER been heard before. Then load it into your music program and do something with it.

Back in the old days I had a portable tape recorder (you remember cassettes, don't you?) that I would wander around recording random sounds with it. Then I would sample those sounds into the computer and see what I had actually captured. When I sound "jumped out" at me, I put it through the meatgrinder to make it even more unusual, more me.

I think many of us have fallen into the trap of "needing" Virtual Instruments for just about everything. It can be useful, or it can be a crutch. The sounds made by a VST are the same sounds everyone else with that VST has to use. It's a shared experience. Sure, you can morph the sound by adding more VST effects onto the basic instrument. And more VSTs.

Personally, I prefer to find a basic sound from a Virtual Instrument, record it, and then bring it into Audacity and corrupt it into something that is wholly mine. I can (almost) guarantee than nobody has ever taken the same source sound through the same "audio meatgrinder" I use. Since it is an organic, seat-of-the-pants creation, I would be hard pressed to duplicate a sound that I made previously.

Final Thoughts
As old Uncle Ben used to say, "With great power comes great responsibility." We don't need to be responsible, do we? So try a little experiment on your next project. Try to limit yourself to a set number of tracks. 4 or 8 tracks - the classic tape capacities. Can you get the song you're after if you can ONLY use 4 tracks? I'm willing to bet you can get a stronger song in that 4 or 8 track space. You might just surprise yourself at how much "waste" there is in your recordings.

Before the haters bring it: Don't get me wrong, I love (free) VSTs. They give us the options that we never really had in a small home studio before. I couldn't afford to buy another keyboard to get that ONE new sound I was looking for. You made due with what you had. Now we have so many options to choose from, we often get caught in the "chasing the perfect presets" in our VSTs, instead of chasing the perfect song. If you can't find it, make it.

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Sell Your Childhood, Buy Your Future

As I have worked on building my home studio, the one question I have kept coming back to is the ultimate issue of cost. As long-time readers know by now, my desire is to get the best studio for as little money as possible. I think most (if not all) aspiring musicians start with the same basic idea: I will invest money now, and make my money back when my album is released and sells a million copies (or a hundred copies, for those who set their sights more realistically.) The main problem is that it doesn't always work that way. We spend a little. And then a little more. Eventually, we have a studio that cost as much as a car, and we still haven't made a dime on the album we are still working on. I'm there with you, brothers and sisters. Recently I've been on a budgeted buying binge. (I apologize for the excessive alliteration there. It couldn't be helped.)

Sell First...
So what is my advice? Sell Your Stuff. I don't mean sell your studio gear - that will be worth its weight in gold when you finally release your album on iTunes. But we all have various and sundry things we have been collecting (intentionally or otherwise) over the years, and we don't really need it all, do we?

In the modern age, when we talk about selling, we are inevitably talking about two places: eBay or craigslist. I'm personally not a fan of the whole free-for-all that is craigslist, so I avoid it. But eBay is a great place to sell your extra stuff. Look around your home. I'm sure you can find any number of things you wouldn't miss if they were to find a new home. Outdated video games you haven't touched in years. Old, out of print books. CDs, especially boxed sets. Old computer hardware. Seriously, there's a market for everything on eBay.

Since I began trying to tip the financial scales toward breaking even (in the last month), I have sold enough items to almost completely pay for my current studio gear. And there's not a single item I've sold that I will ever miss. The biggest question to ask yourself is which is more important: making the best music you can, or holding on to that Playstation 1 game that hasn't been played in 8 years? I can't answer for you, but for me the answer is a resounding MUSIC!

...Then Buy
Of course, it's not just about getting people to pay way too much for your old junk. It's also a great way to get the gear you want cheaply. You need to be a little smart about what you buy, but you can find some great deals. For example, I got a great deal on a new Canvas Bass Guitar for $71.00 (with free shipping) recently. Even buying a entry-level Bass from a traditional retailer will set you back twice that. (Side note: I'm loving the Canvas Bass, model CTFB10. I'm not really a bassist, but it plays exceptionally well and the pickups have a great tone. But I digress.)

Buyer Cautions
There's a few things to keep in mind if you're buying music gear on eBay, or from any second-hand establishment for that matter.

1) Beware Fakes - If you can buy a $1,000.00 guitar for $50.00, it's a fake. There is no way you're getting a real 70's Gibson Les Paul for under a grand. Period. If you're not sure, Google it and compare photos to see if anything looks wrong - especially detail like logos and designs on the headstock. That's where a lot of the fakes get the visible details wrong.

2) Buy economy - Buying lesser known brands is often better, since there is almost no profit margin in making fake versions of $200.00 guitars.

3) Beware Used Software - If you're buying gear than includes software, make sure it isn't something that requires a registered serial number with the maker, or you might be SOL. Used gear tends to be already registered to the prior owner. So if you buy a Line 6 UX1, for example, you must be the owner registered with Line 6, or you may be prevented from downloading Pod Farm (or GearBox) software. Personally, these are items I will only buy new in box because the headache isn't worth saving $20 on an already reasonably priced piece of gear.

4) Make Sure It's Compatible - If it's recording hardware, you can get screaming deals - just make sure it's compatible. A good example is the wonderful MOTU hardware. The older, non-Firewire hardware is still great gear. But it needs a PCI card interface. Many of the auctions I've seen on eBay include the MOTU PCI-324 card, which runs on a different voltage level than most modern PCI slots, so it won't work. You'll need the PCI-424 card, which if you are the registered owner, you can buy direct from MOTU for $295. Or buy one on eBay for slightly less than that. So a screaming deal on an original MOTU-2048 is dampened considerably if you have to shell out another $300. to make it work on your system. You MUST do your homework to avoid getting the shaft on these "good deals".

5) Buy From Established Sellers - If a seller has a lower feedback rating, I'm always a little nervous, even if it is all positive. You never know how serious they are. Now, if they have a 100+ feedback score, you know that is a much more serious seller, and more likely to be treating their transactions as a business.

6) Does it pass the Sniff Test? This goes back to #1 above. If the deal is too good to be true, it might be. If something feels wrong about the seller, move on. (I made that mistake once - and 3 weeks later I'm still in limbo as to whether I'm ever going to get the item.)

Bottom Line
Yes, I know this post is probably coming across as an eBay advocacy lesson. Probably so, since I'm spending a lot of free time working with eBay, and I'm getting sucked into its vortex more each day. But at the end of the day, I know that auctions are short-term commitments. If you lose your motivation to sell, and want to get focused back on music, you can be free and clear within a week, with no lingering after-effects like other "make money now" schemes.

As all of us struggling to get our music made properly in our home studios know, there is almost always someone who is keeping tally of how much we're spending on our gear. Wife, mother, husband, child, landlord, collection agency, etc. The only way we can dig ourselves out of the bottomless pit that is our home studio is to offset the expenses with an income. And I, for one, am willing to sell my childhood for a new pair of reference monitors. I'll keep selling until I get what I need. Of course, if you have a spare set of KRK Rokits that you'd care to donate to the Troll Cave, drop me a line. I'm always open to donations.

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Happy Thanksgiving!

While I was getting ready for the Thanksgiving Day feast, it dawned on me that of all the holidays in the United States, Thanksgiving is the only major holiday without its own soundtrack. I don't know why this is, but it seems odd to me.

Christmas Music is a genre unto itself. Valentine's Day has any romantic songs as an appropriate soundtrack. St. Patrick's Day is the traditional stomping ground of any bawdy singalongs. New Year's Eve is filled with songs of reminisce, with "Auld Lang Syne" as the benchmark against which all others are judged. Even Independence Day, Veteran's Day, and Memorial Day have the canvas of patriotic songs that have been deemed "correct".

Yet Thanksgiving only has a few odd novelty songs that really don't do it justice, like Adam Sandler's "Thanksgiving Song". Why haven't we ever found a voice for Thanksgiving? Perhaps it has become so overshadowed by Christmas that nobody cares much about the spirit of Thanksgiving being expressed in song. We gorge ourselves on food, watch some TV, and get up before dawn the next day to fight the crowds and start our Christmas shopping in unison like so many lemmings racing off a cliff, leaving Thanksgiving as a faint memory of having extra time off work.

So what should Thanksgiving sound like? How do you express overeating, football, and the sneak preview of the family stress to come at Christmas? What suits it? Intimately happy songs like Christmas carols? Songs of gluttony and excess? Teen pop? Today the Jonas Brothers performed at a halftime show, which was strikingly odd - they were playing while surrounded by the Dallas Cowboys cheerleaders. It was jarring, but was it Thanksgiving music?

We need to find a voice for Thanksgiving. What does it sound like to you?

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Remix Other People's Music

Previously, I talked about rewriting other people's songs in a different style (see Musical Re-Visioning) as a tool to break out of your box. Another way to break out of the doldrums and get something new going is to remix other people's music.

In the early 90's, I used to do this without really thinking of it as remixing. I would record sound bites on a tape deck, jack it into the Perfect Sound sampler on my Amiga 500, and rip small passages that I later would use in my own "new mixes". Sure, they were gritty, 8-bit samples with WAY too much background music, but they helped stretch my imagination because I was playing with full musical passages, lyrics, and a musical signature that wasn't my own.

Like other techniques I have mentioned here before, remixing is an interesting way to get your hands dirty and come away with not only a new appreciation for the complexity (or simplicity) of the artist's work, but also with more knowledge of how they assembled their beats, how they took simple passages and made a really memorable song, etc. You increase your mental musical database with these snippets that will influence your later original work.

Where To Start
Now with the free-for-all of the web and the change in moods from some artists, you can take this a step further than my early remixing attempts, without all the suffering through poor quality rips of passages and the omnipresent "other music" behind the clips you really want. We are now in a climate where some artists are releasing the bare bones bits-and-pieces of their songs with the intention or creating remixes. A couple artists that are worth noting doing exactly this (separately) are Jay-Z and Nine Inch Nails.

Jay-Z released an acapella version of The Black Album, which immediately encouraged fans and remixers to use his tracks in their own mixes. (The best of the remixes of this has got to be Danger Mouse's "Grey Album", which remixes Jay-Z with The Beatles' "The White Album". It has been banned from official release, which means you can find it all over the web, but can't actually buy it. Find it. Enjoy it.) One downside is that Jay-Z released the acapella version as another commercial album, so there's no free ride here.

Nine Inch Nails has taken another approach, by releasing all the source audio tracks from quite a few of their songs for free download on their site. These are in a variety of formats, including GarageBand, Ableton Live, as well as raw WAV files for people using other programs. They also released the source tracks for EVERY SONG from the album "Year Zero" on their followup remix album "Y34RZ3R0R3M1X3D" as enhanced CD content. More recently, they released the source tracks to every song on their latest album "The Slip" on their site. To take it even a step further, they have provided an online community to share your remixes of their material online and to listen to other people's remixes as well. You can find the Nine Inch Nails remix community at http://remix.nin.com.

Drop me a line or post a comment if you have found any other worthwhile artists giving away source material for remixes. It is always fun to see how established artists crafted their songs (and how easily we can take their visions in other directions).

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Why Loops Won't Make You Famous

In today's world of DIY music, there are more people than ever creating their own music, thanks primarily to inexpensive, easily obtained music programs. Many of these programs are based on the idea of loops. For those who are new to the scene, loops are canned, individual snippets of music that are trimmed so they can be played in a loop indefinitely.

There are quite a number of very successful consumer-grade packages that offer impressive quantities of loops, like Sony ACID, and M-Audio's Session. It's easy to load a few loops, stack them up, and make a decent sounding song.

There are a few problems with loops, as I see it. First, you are basically remixing someone else's creativity. Granted, most loops aren't terribly creative. But even so, any music you make with purchased loops will not be your own music. There are occasions where a few sampled loops of really strong beats or riffs do make it into the popular musical vocabulary (James Brown's famous "Funky Drummer" beat a good example of a loop that has been used in thousands of songs). But the key there is that the successful songs that use such elements are not completely made of other people's work.

Before the era of ready-made loop libraries, we had people trying basically the same thing, to horrible consequences. A prime example of looping gone bad is Vanilla Ice's "Ice Ice Baby". It was a big hit -- until people realized he had completely ripped off the intro riff to the Queen & David Bowie classic "Under Pressure" and looped it through his entire song. That was the first major nail (and lawsuit) in his thankfully short-lived career. Could he have lasted longer with something truly original? Maybe, if it was good. (Okay, I highly doubt it.)

Imagine this scenario: You finish your first album and get some interest from a record label. Some astute audiophile at the label recognizes every sound in your songs (except, possibly vocals) are bundled with ACID or another popular loop software. I'm willing to bet that will be a deal breaker. Why? Record labels want creativity, not re-mixers.

I strongly believe that the use of canned loops is not creating music. It is the musical equivalent of making scenes out of clip art and considering yourself an original artist. Nope. You are doing image layout, not creation. You shouldn't expect to be hired as an original artist for clever use of clip art. Loop tools and loop libraries are first and foremost musical toys.

Now I'm sure some loop users are upset and think I'm way off base. Don't get me wrong, loops have their place. If you create your OWN loops and use them in your music, that is a completely different animal. In that case, you are creating your own building blocks and making something wholly original from your own snippets. If you want your drum pattern to go on for an extended period of time, it's a great time saver to loop it (you really should introduce variations into any repeated pattern to give a more human feel to it, but it's your choice). Again, I'll stress that is YOUR drum pattern, not one you pulled out of a box.

Music is about creativity, not cut-and-paste. Please, give yourself some credit and put yourself into your music. Your work will be stronger in the long run if you avoid the musical crutches that are all too available. You will know the difference. Your audience will know the difference, too.

Originality shines like a beacon in our current musically saturated world. Let's let the world know what we sound like.

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Musical Re-Visioning

As a musician, inspiration is often one of the hardest parts of the creative equation to come by. Often, we fall back into the rut of writing variations on what we have done before.

Listening to early Motley Crue or anything by The Ramones are perfect examples of getting in a rut. Song after song of the same half dozen or so power chords shuffled around in simple patterns. You can almost imagine them writing an entire album in one afternoon. (Yes, both of those bands had some good songs. But they all pretty much sound the same, don't they?)

A good exercise that can help lift you out of a rut is to take music written for a different instrument and play it on something totally foreign to the piece. Take a piano ballad and play it like a hair metal band on a distorted electric guitar. Take a folk song and play it like 80's synth-pop. Take a thrash metal song and play it as an acoustic ballad. When you take the music out of its original context, you might discover your own music in a different context, too.

One of the virtues of using virtual instruments is that you can do this re-visioning easily. Build the song in your DAW in a semi-faithful adaptation of the source material. Then swap out the virtual instrument for something completely different. Maybe add effects to either punch it up or mellow it out.

Years ago I worked out a instrumental metal version of Simon and Garfunkel's "The Sound of Silence". I think I ended up doubling the tempo, swapping folk guitar for wailing metal guitar, and put in enough drums and bass to qualify as being a complete wall of sound. By doing that, I was able to see my own music differently. Over the course of the weeks following that, I wrote and recorded 3 new songs that were in a completely different style than I had written before, and they were better than the dreck I had been working on prior to working on "The Sound of Silence".

So go for it! Rip apart and re-vision music that is outside of your normal fare. If you don't like the result, nobody has to hear it. Use it as a tool and then rediscover your own voice.

Inspiration has a way of striking more often when you are outside of your comfort zone.

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