Last night I finished the first draft of my fugue. I say first draft because there are still a few notes that I am not happy with. In isolation each voice sounds consistent but all together… well there are some, not dischords exactly, but places I might be able to polish.
Eldest Brother asked me how I composed (did I use score?) so I figured I’d describe the process. Basically I have four MIDI tracks defined in a SONAR project, each configured to send to a single instance of the TruePianos VST instrument.
You can tell from the segments that I have been building it up a few bars at a time, and then I tweak the notes in the piano-roll view, selecting a voice at a time to edit:
This draft is very mechanical sounding. That’s ok given that it is a kind of “audio score”. In the final version I intend each voice to be performed in real-time on a different instrument (probably Piano, “Hammond”, Guitar, and Chapman Stick).
The end of the fugue leads directly into Part 4 of the full composition, which is why it finishes up with that shuffle chord sequence.
Seriously, I don’t know what the legal position is here. I’m sure that, as an endorser, Ms. Keys has a contract that says she can only play Yamaha instruments in public/publicity photos. This is kind of bending the rules, though, isn’t it?
I can’t fault her taste in synthesisers though. The Roland Jupiter-8. Awesome, classic instrument.
Last post I described my experience setting up my Stick to have bass strings on both sides of the fingerboard. One roadblock is that the Stick uses a stereo output jack to carry each side. This is cool for independent processing of bass and treble registers, but if you’re trying to play both registers as a single bass instrument, you might want to treat the output as a single mono source, without switching cables around. (Basically, I wanted to mess round with chords without messing around with cords. Heh. I slay me.)
It arrived the other day. It’s a nice, compact black box with two knobs (volume for each channel) and three jacks (stereo input, main mono out, and a second output that splits the output and retains the channel separation. So basically if you want to keep the pre-amp feature but process the two channels independently, you can. This seems like the best of both worlds.
There’s a small screw at the side that you have to remove to take the lid off. This thing is very solidly built, it feels very reliable.
Once the lid is off, you can plug in the required 9-Volt battery, and adjust the channel gain and EQ pots. There is even a little metal “screwdriver” for this purpose, tucked away inside with velcro to keep it from knocking around.
Yes, this device allows you to set the gain and bass/mid/treble for each channel independently. Perfect for my situation, where the treble side of the Stick sounds a bit too trebley, despite the bass strings that are used.
I plugged in the Stick and experimented with adjusting the EQ.
With the volume turned all the way up, it seems as though the default available gain is about 120% unity.
If you’re looking to amplify a piezo pickup or similar (I have a Dean Markley acoustic pickup I was thinking of using with my Wendler bass, for example) then you can change the amount of gain on each channel using adjustments to the mini-pots. They are set half-way by default.
I ended up knocking back the treble pot a little to even out each side of the Stick. I couldn’t get it perfect – the two registers just sound different, that’s just the way it is, but I could get a definite improvement over the flat response, so it was worth it.
With the stick hanging off my military-style web belt, the preamp’s handy belt clip lets me use a short TRS “patch cord” to direct the Stick’s stereo output to the preamp input. Then my regular “Monster” mono instrument cable takes the preamp output away to my POD, etc, for recording.
Initial tests are very promising.
What we’re About
Melodic progressive rock songs and instrumental interludes, a touch of 70’s influence but a product of the dystopian Now.
“Very smooth, hi-tech sounding delivery…” – Chris Jemmett, alt.music.yes
“This guy is awesome.” – Dazed, on the Carvin Forum.
“..on a rare occasion you just have to conclude that the prog world should be feasting upon the birth of a new and promising act. That’s exactly the case with this [first] album.”
– Theo Verstrael, DPRP.net
“I find this new album attractive, [..] slightly less appealing than the 2014 debut. But as that is often the case with great artists, let it not distract you from trying this fine album. Especially those that are interested in bands that play varied, cleverly made, well played and sung [..], this might just be your cup of tea.”
– Theo Verstrael, DPRP.net