Midi Sequencers: The Brain Of Your Home Recording Studio

A MIDI sequencer is a device that records a song that you play on a MIDI instrument (or series of instruments) and uses the recorded data to play these instruments the same way that you did when you recorded them. It is more than just a glorified tape recorder, though. What gets recorded is not the sounds themselves, but the commands that you gave the MIDI electronic instruments that told them to play this or that note in this or that sequence with a particular tone, volume, pitch, timbre, etc. The recording takes the form of a series of numbers that, when translated into electronic form, cause the sequencer to send out electrical pulses that play back the composition just as you played it. Once these commands are recorded in digital form they can be modified in just about any way you like, so that you can keep adjusting your song any way you please without having to play the entire composition again every time you want to make a change. Its sort of like the difference between a typewriter and a word processor in its ability to easily modify anything it records, including mistake you may have made during recording.

But its even better than that a MIDI sequencer offers a degree of control over your recording that is unmatched. For example, when you play back digital audio at a higher speed, it changes not only the tempo but the timbre and the pitch as well, resulting in a distortion of the original sound. A MIDI sequencer will alter the tempo without changing either the timbre or the pitch (unless you want it to).

In fact, there are a million (or more) alterations you can make to your composition until you get it sounding just the way you want it to sound, and these alterations can be made either real time (during playback) or you can stop playback and re-arrange each note individually using a display that includes symbols representing every aspect of your recording.

The Mystique Of Acoustic Guitar Solos

The acoustic guitar still holds a fascination for music lovers even after all these decades of our ears being bombarded by electric guitar music. Electric guitarists love playing with the sounds they get from different tone settings, effects, the use of the different pickups and feedback. The acoustic guitar has only the tone given to it by the wood it is made from and the skill and inspiration of the guitar player. So let us take a look at some acoustic guitar solos and the guitars and guitarists who made them.

If you do not know the name Erik Mongrain, you will find some examples of his guitar playing on video sites on the internet. I came across a very nice solo called Air Tap. He was given an acoustic guitar when he was fourteen, and learnt to play it by ear. While he learnt and experimented with the guitar he discovered the technique of sitting the guitar in his lap and tapping, the strings and body to produce music. If you go looking for him on the web you will find pdf files of his music and tutorials on his techniques.

Paco de Lucia introduced the world to a new brand of flamenco in the 1970′s and paved the way for a new generation of flamenco guitarists who were inspired by his passion for oriental scales and jazz influences. Entre Dos Aguas was an improvisation begun during a recording session because the LP Paco and his accompanying musicians were working on was short on material. The resulting rumba was a worldwide hit and established Paco as a force to be reckoned with well outside the boundaries of Spanish folk music. Paco sponsors his own line of flamenco guitars.

Back in the 1990′s MTV decided to coax guitar hero Eric Clapton into playing some songs without the adornments provided by an electric guitar and amp. The resulting album won Grammy awards, gave Clapton’s career a shot in the arm and reinvented the song Layla as an acoustic showpiece. The solo on Layla is far removed from the original theme conceived by Duane Allman which made the song a rock anthem.

In the late 1960′s Mason Williams surprised himself by writing and performing an acoustic guitar solo which became a hit and remained popular for the decades since. The tune was called Classical Gas, and is striking for its simplicity and popular appeal. Classical Gas was born in an era when instrumentals such as The Lonely Surfer, A Walk In The Black Forest and Love Is Blue were standout hits for musicians who were otherwise unknown. But only Classical Gas retains the ability to make people sit up and listen.

So if you play the acoustic guitar a little and would like to learn how to play solos, you can use the world wide web to

learn more about soloing techniques for acoustic guitar. One easy way to start is the clawhammer technique used in folk songs, or you could learn to improvise your own licks using the minor pentatonic or “blues” scale. If you are stuck for an idea on how to begin improvising or making up your own tunes, start with a nursery rhyme or some other popular melody, and begin adding notes to it and changing things around to produce something original.

The Revolution Of High Tech Recording Industry

Today, music is one of the biggest entertainment industries in the world. This market is hotter for many reasons. First of all, customers’ demands and tastes are higher and more diversified than ever. Second, the number of people and companies working in this field are increasing at such a dizzy speed that it creates a very large pool of tough competition, and of course, to survive, they have to be unique and distinguished.

We can list out herewith some relevant industry jobs such as Recording, Radio, Television and other Media, Working live shows and tours, Music Retailing and Instrument Repairing, Education and Instruction and many more. Among them, the recording industry is one that has been applying high-end technologies for many years.

The recording industry commenced at the start of the 20th century, when publishers of sheet music dominated the music business. With a quick development pace, recording industry gradually dominated and controlled the music industry. This is the kind of mass-production copies’ business that can fix the price in the market.

To be the priority in the effervescent market of recording, what can they do? – Reducing the price? – Noisy brand-name advertising? – Or investing in technological upgrading of products and services? Of course, though technologies change very fast every day, people still make the choice of high-tech applications as the best way to affirm their positions in the music market.

Regarding recording industry, we consider that this is not only a technical but also a creative career. High-end technology is useful for both sides of this job. Recording engineer definitely must be technically skilled with the equipment. They must manipulate skillfully with all the buttons or knobs to get the correct sound that the artist or the producer want to have. A good microphone is necessary in the first step to begin with the recording process. And then, with the instruments, they find out the expected sounds – not music. The recording engineer, finally, will make the adjustments to enhance the music, morph, add effects… Some years ago, in order to do these steps, they had to resort to many equipment. In this case, the results obtained take a lot of the engineers’ time and labor. However, today, thanks to the development of high-end technologies, recording engineer can apply modern equipment to make their work easier and more professional. One simple example, with a PC and some installed music morpher, music editor softwares, they can mix and edit music like a skilled recording engineer.

In the other side of this job, creativity is also very important. Music industry is a very specific one that requires creativity. The recording engineer must have the feeling, the sense of music that can create different and unique sounds that express music in the best way. With the same song recorded by two engineers, we have two ways to express the music which depend on the creativity of the recording workers. The recording engineer can apply some intelligent softwares specialized to perform a good job. Sometimes, just by adding a wave sound, increasing the frequency or reducing the noise of the music, we have colored up the recordings.

More and more recording engineers believe in the important role of high-end technologies for their career. They are willing to spend money on equipment, modern music editor or music morpher softwares to support their work. Some people pay up to thousands of dollars for their recording studios, but some know how to save money. They find out the efficient softwares that can work properly as a mixer, an editor with very competitive price from $30 to $100. They know how to update their “companion” by frequently downloading the latest effects or supporting programs. By this way, high-tech supports for both professional recording studios and some home recording studios.

“A war is happening, not the Iraq war, but the high-tech war”. However, we will not perish in this war if we know how to use and control technologies for our purposes. Holding in hand the weapons of music softwares, we will be the unique winner, the best one in the running of entertainment industry, especially recording industry.

Careers In Entertainment Production

A career as a rock star or television star is unattainable for most hopeful teens who dream of being in the spotlight. While many dream of being the next One Direction or Justin Timberlake, this may be a little far-fetched. However, teens don’t have to give up their dream, at least not completely. Few star-struck teens actually realize how many careers are available in the entertainment production industry.

Large numbers of people are needed to put on concerts, make film movies or animate cartoons. These are the people who work behind the scenes to make great entertainment. Careers in this industry are as varied as the people that work in them. There are a few careers available that many may overlook, such as: free lance illustrator, dance choreographer, set designers, writers, or 2d animation specialists. Below are just a few of the many fields available in the entertainment production industry and a short summary of what they do.

Illustration

An illustration artist can mean many different things. In the traditional sense illustration artists draw pictures for books, magazines and other publications. They also work with computer graphics, designing web pages, doing character creation for animation studios and even making their own cartoons. They are versatile artists whose primary medium is digital graphics such as flash, photoshop and other such programs.

Dance

Dance provides more opportunities than just backup dancer for a music group. Jobs range from choreographer (the person who makes up the routines) to the person who makes the costumes and dance equipment. Since dance comes in many genres, the field is diverse. Without dancers entertainment would not have the appeal that it has now. However, without the entertainment production staff like teachers and choreographers, those dancers would not have made it very far.

TV/Movies

Television and movie stars are glamorous and popular. What most people don’t realize is that it takes the work of many people to make that actor great. Movie and Television stars are very talented, but they need people to write their scripts, shoot the film, do their makeup, build the sets, and so on. Most people who work in television work in entertainment production rather than just acting.

Books and Print Media

The most well-known job in the field of print media is an author. To bring a book to the shelves an author needs editors, publishers, layout designers, and book reviewers. The author writes the book, and then it goes through reviews, revisions, and printing. Each of these steps requires a talented professional. There are many diverse opportunities available in print media.

Music

Music production has two sides. One could work for companies that distribute music such as radio stations, online music stores or even event planners for concerts. Conversely, one could work for a music recording studio that actually produces new music. Both have advantages and disadvantages. Working on the distribution side can be rewarding for those who love to listen to music or like music trivia. Working on the production side is more suited for those people who like being on the cutting edge of music. Plenty of opportunities exist for people who don’t have musical talent but still have a passion for it.

Animation

Animation is a diverse field that employs more than just artists. Animation studios typically have writers, animators, software designers, and sound engineers. Animation is most often, distributed through the internet and TV. Studios often employ people who know how to work with these types of mass media.

In addition to the jobs listed here, many others exist that are not related to entertainment production but are still in the entertainment industry. Examples of these are accountants at a TV studio, CEO of a publishing company, IT specialists for TV stations and the list goes on. Aspiring teens don’t have to give up their dream of working in the entertainment industry when they don’t make the cut for American Idol or loose the school talent show. Working in entertainment productions is a question of desire rather than talent. If a person wants to work in entertainment production, there is a job for them whatever their interests are. They just have to be creative and then work hard.

Rashaad Patrick's Jazz Essentials

I used to tell people I met on airplanes or at parties that I wrote about jazz for a living. Once they got past wondering just what type of "living" that amounted to, they'd smile and say, "I love jazz," then pause, adding, "But I don't know that much about it."

They were leery, thrown off by chart-and-graph references to jazz's development — stuff like how '40s swing begat '50s bebop, which gave rise to '60s free-jazz and all that. As if there was a textbook (well, actually some critic friends of mine are writing one, but that's another story) and there might be a test, you know. Not to mention the political squabbles: why swing was king or bop the thing or how '70s fusion killed it all.

Or maybe they'd been put off by all that technical talk: flatted fifths and extended chords and the numbers behind swing's rhythmic propulsion — like it was rocket science or something.

Then there's the cult aspect: those older guys bending and swaying at the back of the club, making like Jewish elders swaying to an fro at temple, or the generalized bowing down before deities such as Louis Armstrong and Charlie Parker and John Coltrane (not to mention the infighting about just who deserves saintly status).

Thing is, jazz isn't any of that — and is all that. Appreciation requires no previous knowledge, yet continued listening offers all constant enrichment. The technical aspects of jazz's musical achievements have both the beauty and complexity of higher math: And the music has genuine religious heft, owing to both time-honored spiritual traditions and in-the-moment meditative thought.

I can't give you a 12-best list, or tell you that what follows tells the story in full. But the following list expresses lineages of thought, instrumental technique, rhythmic ideas and group conception. The dots are easy to connect, the names clearly indicated and the sounds unforgettable.

And this list is like those sponge toys that, placed in water, magically grow overnight. Listen, and you'll find expansive knowledge easily absorbed, not to mention natural links to many more artists and recordings.

Listen Hot Fives And Sevens
Artist: Louis Armstrong
Release Date: 1925

To tell the story of jazz without Louis Armstrong up top is to cut off the head of the living organism that is jazz. Armstrong was a giant of a trumpeter, he was an influential singer and perhaps most important, he transformed jazz from a strictly instrumental music into a complicated blend of solo and ensemble sound. In that sense, nearly all the 20th century jazz that followed flowed from the innovation of these recordings. Over the course of these sessions, you can hear the transformation in process, from traditional New Orleans collective style to a different blend, with the clarion call of Armstrong's horn pointing the way.

Listen The Art Tatum Solo Masterpieces Volume 1
Artist: Art Tatum
Release Date: 2001

Any one edition drawn from this eight-CD set will do. And any one is enough to give a sense of the enormity of Tatum's genius and its far-reaching effects on all the music that followed. Tatum simply played more piano — got more out the instrument — than any other musician. He was a direct link from the whorehouse piano men to the classical soloist. Here, late in life, he plays song after song and, beginning with "Too Marvelous for Words," he builds each one into a concerto of melody, harmonics, and improvisation that set the bar high and establish the logic for much of modern jazz.


   
Listen The Carnegie Hall Concerts: January 1943
Artist: Duke Ellington
Release Date: 1943

Little in jazz compares with the majesty, finesse, integrity and spark of Duke Ellington's bands during the '40s. It was a moment when jazz straddled two functions as it never will again: it was popular music, reflective of the nation's heart and mind, and artistic revolution, charting new waters. In Ellington, as perhaps in no musician other than Louis Armstrong, jazz had a leader who understood both drives. It was a dream of Ellington's to play Carnegie Hall, and it anticipated the Lincoln Center achievements of Wynton Marsalis today. This recording contains both shorter tunes (marvelous miniatures of great scope) and Ellington's more ambitious, longer-form work "Black, Brown, and Beige." There are stellar solo statements by players including saxophonists Ben Webster and Johnny Hodges, but really, it's the brilliant cohesion of the full band and Ellington's overall vision that makes this music timeless.

Listen Tomorrow Is The Question
Artist: Ornette Coleman
Release Date: 1959

Ornette Coleman's music has always leaned on tradition — listen to some Charlie Parker and you'll hear echoes of it here — distilled into something new and pointed straight toward the future, or curled up like a quizzical phrase. Here, Coleman's title begs both ideas. And the music announced his pianoless quartet setup: the harmonics of chord changes alone would no longer confine Coleman's music, replaced by his own personal science bent on liberation. The way Coleman and trumpeter Don Cherry shadow each other's lines and exchange ideas, the process sounds closer to pure joy than hard science. Nearly a half-century later, it still sounds fresh.
   
Listen Alone In San Francisco
Artist: Thelonious Monk
Release Date: 1959

The hippest, most addictive thing I got turned onto in college was Monk's music. I'd never heard anything like it, and it opened up a whole new idea for me of how the piano could sound and of what music could do: his compositions, his every arpeggio or tone cluster, contained math, R&B, Abstract Expressionism and slapstick humor. I went on to discover a world of jazz musicians, all touched directly or indirectly by Monk, but none who sounded quite like him. And though Monk recorded quite a few notable albums leading stellar bands, though his music led others to play with a special insight and cohesion, it's Monk alone at the piano that I crave: Straight, no chaser. Here, early in his career, by himself, Monk transforms San Francisco's Fugazi Hall with the unique architecture of his piano playing. This isn't what all of jazz sounds like: It's what the world of jazz after Monk looks like.
   
Listen Bill Evans Trio: Sunday At The Village Vanguard
Artist: Bill Evans
Release Date: 1961

There's plenty of religious, folkloric and literary evidence to support the idea that three is a magical number: Bill Evans's trio might be jazz's mightiest argument for that case. Evans was one of jazz's most lyrical pianists, and he's at his best here. But it's the nature of this trio that elevates most of all: neither Evans nor bassist Scott LaFaro nor drummer Paul Motian stick to customary roles. And in the three-pointed cheese slice of a room that is the Village Vanguard (the closest thing to sacred space remaining in jazz today) the music takes on a prayer-like quality.

Listen Live Trane: The European Tours
Artist: John Coltrane
Release Date: 1961

By 1961, Coltrane's soloing style — the free flow through chord changes and scale-based improvisations that critic Ira Gitler dubbed "sheets of sound" — was his signature. His band concept was similarly bent on expanding boundaries and explosive energy. Coltrane may have laid down some of jazz's most memorable studio sessions, but there's really nothing like him caught live. These tracks, drawn from a three-LP set, find him in two powerful contexts over the course of four years: in a 1961 quintet including Eric Dolphy on alto sax, flute and clarinet; and fronting his classic quartet at concerts in 1963 and 1965. The fire and especially the communion between Coltrane and drummer Elvin Jones on the later material is a thing to behold.

Listen Spiritual Unity
Artist: Albert Ayler
Release Date: 1964

The first release on Bernard Stollman's ESP label, this is the session that pushed Albert Ayler to the forefront of jazz's avant garde. He remains a touchstone for any open-minded musician wishing to explore the sonic possibilities of a given instrument, to exploit the aggregate effect of any small group and to mine the spiritual heft of musical expression. To some, the arsenal of sounds Ayler coaxed from his saxophone — screams, squeals, wails, honks and a mile-wide vibrato when he felt like it — represented newfound contortions of sound; to others, they harked back to early jazz evocations, like Sidney Bechet's soprano sax. Ayler's appeal anticipates the current axis that connects punk rockers to free jazz: He took the simplest of song structures and turned them into the most complex of visceral splatters. His "Ghosts," here rendered in two versions, will truly haunt you.
   
Listen Afro-Cuban Jazz Moods
Artist: Dizzy Gillespie And Machito
Release Date: 1975

Back when I edited a jazz magazine, I'd find regular annoyance with writers who thought Latin jazz was a tiny sidebar to American jazz. Jazz is many stories, a central one being the African Diaspora. The music of Latin America, South America and the Caribbean are cousins to American music (and they contain some rhythmic secrets we've forgotten, I'd say). Cuba in particular has a special musical relationship with the United States, and trumpeter Dizzy Gillespie was one among jazz's ranks who honored that truth with depth and style. Though Dizzy made his Big Cuban Bang decades earlier, this 1975 session finds him with the famed band of Frank "Machito" Grillo, featuring the great Cuban trumpeter Mario Bauzá. Composer/arranger Chico O'Farrill's "Oro, Incienso y Mirra" is as modern a fusion of cross-cultural ideas as you'll hear today.
   
Listen Raining On The Moon
Artist: William Parker
Release Date: 2002

Born in 1955 [ck], William Parker is just a bit older than the music we know as free jazz. Some say that that musical revolution is dead: They're wrong. The most vital life signs are found on Manhattan's Lower East Side, and at the center of this scene is the loud, insistent sound of Parker's bass. He is something of a father figure, dispensing life lessons as well as musical wisdom, much like legendary bandleaders Duke Ellington, Art Blakey and Charles Mingus. Among Parker's many bands is the quartet he leads here (with Leena Conquest adding soulful vocals). Among the deep connections he shares is the one you can feel powerfully throughout this music, with drummer Hamid Drake.