A trumpet has three valves (six if you count half-valves) and a wide variety of notes based on airflow and the players lips. A guitar has 15-24 frets (depending on style of guitar), 6 or 7 strings and four fingers with an occasional thumb. Both instruments have their tonal limitations and their typified scale patterns. When I tried to recreate what Louis Armstrong and Roy Eldridge did on the trumpet, I sounded “off”. The notes didn’t fall where I’d expected them to, the patterns didn’t match what my fingers were used to playing. After a couple hours gaining fluency, I came up gasping for air with a big smile on my face and new take on the sound a guitar “should have”. All based on about 30 measures of music. I can’t wait to smile wider and wider as I get to play the music of other instruments as I find time to explore the book further.

What Mr. Feather Taught Me

The most important thing that I walked away with from that little epiphany is a further understanding of the Jazz scale. By playing a trumpet solo, I wasn’t just stepping outside the confines of tabbed out Ionian/Major scale, or adding the “blue” notes to it. The scale wasn’t numbers and finger positions written in a pattern, it was notes played by someone as they saw fit for their instruments voice. It also wasn’t just fancy guitar playing for the sake of being fancy. It was pure music, pure Jazz if you prefer.

To that important thing, I’ll add this: Trying to recreate a horn’s “Growl”, which is a slide down half-step and back up, is like trying to milk a rock if you’re playing the guitar. Without the air (the wind in wind instrument) I couldn’t get that “Bah-wah-wuh” that’s so typical of horns. While it is frustrating, it’s just another way to realize that no matter how good I ever get on the guitar, I still won’t be able to do everything. (I’m sure there’s a technology out there to model the sound I was seeking but on a plain guitar, but really, that’s sort of cheating isn’t it?)

These are good and humbling things to know. Since just because I play guitar, I am foremost a musician and not a rockstar. Meaning, I’m not always (in fact quite rarely) on center stage. That’s something that can be quite misleading due to the wide styles of music a guitar can play and it’s cultural prominence in the western world. Remembering this allows me to focus on the strengths of my chosen instrument and continue to learn how to exploit it’s unique sound, rhythms and melodic patterns within the Jazz idiom or any other music that isn’t guitar driven for that matter. Furthermore, it helps me appreciate what other instruments are doing even more.

Oh and one thing for the non-soloist/rhythm guitarist: Sight reading will allow you to choose/alter chords that will fit with the melody of the piece without fumbling for the correct voicing. By reading an accidental in a piece of music you can immediately tailor your chord selection and further enhance the piece, rather than clashing with it by playing strictly within the harmonic scale.

A few questions to ask yourself

What is my budget?

In the world of keyboards, prices can quickly jump from affordable to very expensive, so deciding on an initial budget for your investment will play a major role in the selection you’ll ultimately have to choose from.

What features do I need?

Though you may not be familiar with all of the functions that are possible with a digital keyboard, it’s important to keep in mind some of the features you’d like to have. This could be anything from the basics, like size and weight or something more specific such as, the feel of the keys. Anything you can think of ahead of time will help narrow things down during your research.

Where will I be using it?

If you plan on gigging and playing shows frequently, you may decide to sacrifice more complex features or scale back on the number of keys which, in turn, will accommodate constant transporting and ensure reliability . On the other hand if you have a home studio and size or weight might not be a deciding factor, a full-size keyboard may be a better and more flexible option.

What will I be using it for?

If you’re looking to easily write songs with multiple instruments, a
Workstation could be a great option. However, if you’re attempting to simply learn or play piano, a Workstation or a Synthesizer can be major overkill and may not offer features you would benefit from. Knowing how you plan on using your keyboard is one of the main deciding factors you will have.

Some of the major brands and the varieties that they produce

• Korg (http://korg.com) – Workstations,
  Synthesizers, Digital Stage Pianos
• Roland (http://www.roland.com) –
  Workstations, Synthesizers, Digital Stage Pianos
• Yamaha (http://www.yamaha.com) –
  Workstations, Synthesizers, Digital Stage Pianos
• Kurzweil (http://www.kurzweilmusicsystems.com) – Workstations, Digital Stage Pianos
• Nord (http://www.clavia.se) – Synthesizers, Digital Stage Pianos
• Moog (http://www.moogmusic.com) –
  Synthesizers
• Kawai (http://www.kawaius.com) – Digital Stage Pianos
• Casio (http://www.casio.com/products/Musical_Instruments/) – Digital Stage Pianos

Workstations

Starting with the most complex and powerful, Workstations are all-in-one units that can allow you to effectively produce songs without the need of other equipment. They can be an ideal solution for songwriters or solo artists looking to gig with backing tracks and instruments. A simple way to think of it is, a workstation is a self-contained studio with a keys.

Most workstations are available in 3 configurations, a 61-key, 76(or sometimes 73)-key, and a full-size 88-key. Deciding on the size of keyboard is completely up to you, however, beware, with a bigger size comes a bigger price tag, and getting those extra keys can cost up to $400 extra.

Also keep in mind, most workstations may require a steep learning curve in order to maximize their full potential.

Synthesizers are essentially glorified sound generators. They provide various types of basic waveforms which you can mix together and manipulate in limitless ways to create a massive palette of different sounds and creations. Since the keys on a synth are utilized mostly as triggers for the different sounds, most synthesizers don’t offer a very realistic piano feel.

Also like workstations, synthesizers are available in various configurations, from a mini 25-key to a full-size 88-key and several other sizes in between. In addition, nearly every synth will feature a display and a slew of knobs, buttons and sliders. These are used for control different properties and shaping sound waves that can be triggered with their keys.

Digital Pianos (aka Stage Pianos) are designed to serve as an alternative to traditional pianos through both playability and sound. Though, most Digital Stage Pianos typically offer a selection of other sounds including strings and electric pianos, their primary focus is achieving the most authentic traditional piano replication as possible.

The configurations for Digital Stage Pianos are usually limited to 76 or the full 88-key configurations. You may also notice stand’s being included with some Stage Pianos, depending on the manufacturer, it may even be designed to have the appearance of a traditional upright piano.

Compared to Workstations and Synthesizers, Stage Pianos have almost no learning curve. They’re main options mostly include settings for adjusting piano-specific properties (such as velocity and ) and a few controls for browsing through presets and effects.

Synth’s also have a fairly steep learning curve, but for most models, their functions happen with physical knobs and controls, making a bit easier to experiment with right from the start.

Final Thoughts

I hope after reading this article you’ll quickly find that there is a keyboard out there that can do almost exactly what you need. Feel free to add your own experiences and info in the comments section below!

]]> http://raemag.com/2010/11/the-world-of-digital-keyboards/feed/ 0 http://raemag.com/2010/10/acoustic-guitars-handmade-vs-factory/ http://raemag.com/2010/10/acoustic-guitars-handmade-vs-factory/#comments Sun, 24 Oct 2010 22:49:44 +0000 Craig Braunschweig http://raemag.com/?p=357

Gear is a topic that is probably the most discussed of all things when it comes to music, especially in the world of guitars. Everyone has a preference, everyone has an opinion and everyone is usually right because it really amounts to what they are looking for in their individual playing experience.

In terms of acoustic guitars, one of the biggest differentiating things is handmade vs. factory as well as a few other composition (ie wood type) related factors. In the end, it will always be up to individuals to decide for themselves, but what follows is as straightforward an explanation as I can hope to come up with in such a convoluted debate.

Handmade Vs. Factory What’s the Real Difference?

The most glaring difference here will always be the price tag, especially if you’re buying a new guitar. While a high end Taylor or Martin guitar’s tag may make you cringe, most handmade guitars will make you want to cry.

The next thing that needs to be considered is how well the guitar is actually made. I was fortunate enough to find a handmade guitar in a pawn shop for an incredible price, but because the finish was so thin, the body was already cracking and some of the inlay work was less than perfect. Still, I love the guitar and it’s unique sound fits me so wonderfully I’d try harder to find the man who made it if it ever broke, regardless of some of it’s physical flaws. But it does raise the question of longevity. A good deal of handmade guitars will give a unique and lovely sound as well as appearance but will they be built to last? That’s a question only time will tell and with the price tag, you’d better consider well or truly trust yourself to take expert care of it.

Factory guitars are no slouch in terms of tone either, with the possible exception of the cheapest/base models of almost any brand. They will play like you’ll read about in your research and will also give you that feeling of “owning a Martin” (or other name brand) as well as the brand’s signature sound. They are built well and are known for it or the maker wouldn’t be in business. Even the base models can be great, especially in older guitars. My experience with factory guitars has been just fine, ie, I’ve loved every one I’ve ever owned, although I’ve never owned many guitars because I can only play one at a time anyway. Point is, for any player, a major maker factory built guitar will offer what you’re looking for at a reasonable price (even if that’s around $3,000) at some point within their offerings. Also, factories love to build custom guitars, if you’re willing to pay their price.

The only other thing I can think to tack onto this is the wood choices. A factory will always go with readily available, sonically consistent wood from suppliers they trust. Occasionally a factory will offer a unique wood like teak in a limited edition run as well. All handmade guitars will come from hand selected woods. This is part of the unique sound they give, but there’s more on the tonal difference of woods to follow.

Composition/Wood Choice

Composition of acoustic guitars varies widely. Most models use hardwood backs and sides to concentrate sound with a soft wood face/top to allow the vibrations to penetrate the sound cavity. Some focus more on the overall finished look than the actual tonality. Either way, your ear will decide what it’s wanting to hear and eye what it’s wanting to see. Also, neck wood choice is important, the denser the better, so it doesn’t steal any sound before it gets to the body.

Common woods used in guitars are Mahogany, Koa, Brazilian Rosewood, Indian Rosewood, Sitka Spruce, Red Spruce, Maple, Alder, Poplar, Basswood and Ebony. While these all have their own characteristics, I won’t go into that here. Instead, I’ll refer you to the Sweetwater buying guide for acoustic guitars which has a very good description of each.

Unless you are choosing woods for a custom guitar, you are likely going to go with the choices that are present in the guitar you best like the sound of. For the average buyer, your ear and your fingers are your best bet when deciding which guitar you like. You might say, “Fingers? What the devil do you mean by that?” Simple: I don’t like maple necks. The wood feels soft to me and I don’t like the strings response. I think they are the most attractive neck on just about any guitar, but they don’t feel right for me.

Another composition related topic is the size of the guitar and it’s body style. There are four main body styles: Classical, Dreadnought, Jumbo and Cutaway (a variation of dreadnought usually). Each has their own strengths. A classical guitar has wider string spacing and uses nylon or gut strings, lending it a warm tone but lacks volume due to it’s smaller size. A dreadnought is the staple body style and is probably the most diverse in types of music that can be played with it. A Jumbo has a lot of volume because it’s a relative cave behind the soundhole, but can be a daunting task to play for a smaller framed person. The cutaways simply allow access to higher frets, which does change the tonal characteristics some as well as reduce volume because of the variation. To make it more confusing, to each of these styles there a ton of variations, one of which is right for you.

The Set-Up

By this I mean, Acoustic-Electric or true Acoustic, tuning heads, saddle/bridge and nut style as well as aesthetics. There are a variety of acoustic-electric options and they are popular primarily because they allow amplification without being confined to standing in front of an external microphone. One option is the under saddle pickup, which reproduces the sound from the actual vibrations in the wood and is the most feedback resistant. From there, there are duo set-ups that mix the under saddle pickup with an interior microphone to more fully capture the “true” sound of the acoustic. Finally there are soundhole mounted humbucking or single coil pickups which give a sound that is both acoustic and electric, like that of a semi-hollow (except super hollow) guitar. If you don’t want a list of purchases with a lot of dissatisfaction, it’s probably best to go with a factory installed unit if you are thinking that this is the route for you. Otherwise, expect a lot of trial and error. Bear in mind that the only way to capture the actual sound of your guitar fully will be with a high end microphone mounted on a mic stand because it’s capturing the sound your guitar is putting out as a finished product instead of picking it up somewhere along that process. Not to say pick-ups aren’t good, they are and they are super easy comparatively.

When it comes to tuning heads (or pegs), closed back tuners are generally superior particularly from well known brands like Grover or Schaller. In classical guitars, closed backs are not used and they are the exception to this rule of thumb. The closed back tuning heads are smoother operating, hold their tune better (at least to my ear), and tend to be less maintenance prone since the gears are all encased.

Saddle and Nut options are few but can be important. In fact, when customizing a “new to me” guitar, these would be the first and, usually, only changes I make to it. The saddle is the piece the strings are pressed against on the bridge of the guitar and the nut is the piece prior at the end of the fretboard before the tuning pegs. Most of these are made of plastic, which can sap sound due to plastic’s soft structure. Plastic also wears and will need replacement. Bone is the most common hard material and considered tonally superior though there are likely some equally good composite materials available now as well. The nut controls string spacing mainly, so choose one that both matches your neck width and your personal preference.

When it comes to the saddle, an intonated one is best (sometimes called an intonated bridge). The idea behind the intonation is to balance each string’s contact point in a way that allows it to ring the same open as they do when fretted at the twelfth fret (the full octave higher). While a saddle cannot guarantee this, it can go a long way towards insuring a tonally perfect guitar. The other function of the saddle is to control the action, or height of the strings from the fretboard. To lower a saddle that isn’t controlled by screws or other device requires sanding and patience.

Finally there is aesthetics. Do you like the price? Does the guitar appeal to you and your sense of what a guitar should look like? Do you like the color? Do you like the pickguard? Do you like the tone? Do you like the feel? If you don’t like something, is it something you can live with or change later? All these things are important and almost more so than any of the above since they are a big reason you’ll love the guitar long into the future. the guitar long into the future.

The Distillation

See what I mean by convoluted? There’s no end to breaking this stuff down into pieces so small that it becomes too overwhelming to even know where to start. A little information never hurt anyone but too much is the cause of a great many headaches. So now it’s time to calm down, trust your own judgment and enjoy all the wonderful guitars you’re going to meet along the way. The one that’s for you will be like the wand for Harry Potter, there’s no mistaking the connection once it’s in your hands.

]]> http://raemag.com/2010/10/acoustic-guitars-handmade-vs-factory/feed/ 1 http://raemag.com/2010/10/10-most-unusual-piano-designs/ http://raemag.com/2010/10/10-most-unusual-piano-designs/#comments Tue, 05 Oct 2010 22:41:38 +0000 Elizabeth Alli http://raemag.com/?p=318

10.
Bosendorfer Porsche Design

First on our list is the Porsche Grand Piano. While not the most eccentric in terms of appearance, Porshe’s collaboration with Viennese piano manufacturer Bösendorfer offers the traditional grand piano curves, sound and touch, augmented by the clean cool, lines and sleek embellishments of the luxury car brand.

9.
The Key Between You Piano

Yamaha’s ‘The Key Between You’ piano is another fascinating innovation. This design, envisioned by Yves Plattard features ample seating and is intended to create an intimate and social environment around the player. With over 50 coats of high gloss paint I can’t be sure of it’s sound or playability but, it’s certainly a worthy canvas for a spread of sushi or shots.

8.
Chichi the Rocking Piano

The piano itself which is a standard baby grand from the 1900’s is enclosed by a mirror finished, veneered Canadian Rock Maple and is the first of it’s kind with the ability to gently rock the player as it’s played. After it’s debut in 2007 at Designer’s block in London, the piano spent a few years on display for all ages to play and experience. It now resides at Croyden Campus of Halton’s Riverside College and is used in the school’s performance art studies.

7.
M. Liminal Model

Inciting the spirit of the ocean, the M. Liminal piano by Italian manufacturer Fazioli in collaboration with NYT Line and Phillippe Gendre is the perfect marriage of modern design aesthetic and fine engineering. The instrument which is nostalgic of the sea balances an organic nature with bold lines and shapes.

6.
Suspension Grand Piano

This unusual design comes by way of German piano maker Seiler. With their 155 year lineage and world renown craftsmanship, Seiler is also known for pushing the boundaries of contemporary design. The Seiler Limited Edition Suspension Grand with it’s bridge-like lines is undoubtedly a stunning piece of architecture, but what about it’s sound?

5.
Pianotable

Continuing the trend of pianos you can eat off of, this beautiful understated creation by designer Georg Bohle, is crafted from smooth oak wood and is designed to serve two purposes while taking up minial space. Lift the tabletop/lid to expose a full, 88-key electric piano and reveal a drawer to hold sheet music or other items.

4.
The Hydra Piano

3.
Avant Grande Pegasus

Looking like something that crash landed from Krypton, the Avant Grande Pegasus, which is based on an original Coloni design by Schimmel, has been reimagined by architect Daniel Libeskind. This uber-eccentric instrument stands at a staggering 5 meters long with sharp jutting peaks and silvery inlay. The piano which seems almost too epic for even the Star Wars set has found it’s perfect home in the newly designed Michael Lee Chin Crystal at the Royal Ontario Museum.

2.
Bosendorfer Audi Design

1.
Schimmel Pegasus

The Schimmel Pegasus tops our list at #1, not only for it’s eccentric design but also for it’s powerful beauty and craftsmanship. More closely resembling a starfighter than anything from the Steinway gallery, the Pegasus, created by world-renowned Italian designer Luigi Colani and also the inspiration for our #3 entry, is a remarkable piece of hand-crafted artistry and innovation.

But this is more than merely a list of tech specs as this revolutionary design claims to allow for the player to actually perform to a higher level with less effort, and far more flawless execution than traditional piano designs. The Pegasus was produced about 10 years ago in a limited run, claiming owners such as Lenny Kravitz, Eddie Murphy and Prince.

KRK Rokit Powered 6 Generation 2

Studio Monitor Series from KRK Systems. For years the Rokit series has been a popular choice for accurate monitoring in studios large and small. Now the all new Generation 2 Rokit studio monitor provides a new standard for even better performance and accuracy, raising the bar once again.

The KRK RokitG2 Series takes value-priced monitors to a new performance level. All of the great stuff that Rokit’s have been known for (front-firing bass port, soft-domed tweeter, glass-aramid composite yellow cone) are still there, but the G2 Rokit’s feature refined voicing and a new curved baffle that looks great, reduces diffraction and provides even better monitoring accuracy.

Features

• Radically curved front plate design virtually eliminates diffraction distortion
• Waveguide design provides amazing detail and imaging
• Front-firing port provides low frequency extension without boundary coupling
• New speaker voicing for even more accurate frequency response
• 1″ Neodymium soft dome tweeter
• Glass-aramid composite cone woofer

KRK’s glass-aramid cone technology sets a new standard with even better performance and accuracy!

The IK Multimedia AmpliTube iRig combines an easy-to-use instrument interface adapter with guitar and bass tone software for your favorite Apple mobile device. With AmpliTube iRig, you can plug your guitar into your iPhone, iPod Touch, or iPad and jam anywhere with top-notch guitar and bass tone right in the palm of your hand. Plug iRig into your mobile device; plug in your instrument; add headphones, amp or powered speakers; install the AmpliTube app; and start rocking.

IK Multimedia AmpliTube iRig Features:

• Real time guitar and bass mobile multi-effects app for the Apple iPhone, iPod Touch, and iPad
• Same low-latency as Mac/PC systems
• Choose from up to 11 stomps, 5 amps, 5 cabinets, and 2 mics
• Each preset rig includes 3 simultaneous stompboxes, and amp, a cabinet, and a microphone model
• 36 presets can be saved/recalled on the fly
• Import and play with songs or backing tracks with real time effects
• Includes tuner/metronome
• 1/4″ female mono input jack connector
• 1/8″ female stereo output mini-jack connector
• Designed for electric guitar and bass, but also works with line level signals from synths, and mixers
• Output can be connected to headphones, amplifiers, powered speakers, mixers.

It may seem like the hayday of classic blues is long gone, but maybe that’s because not many blues bands combine the smooth, charismatic vocals and savvy instrumental soundscapes of Raoul and The Big Time.

From their live performances, featuring a rotating roster of immensely talented musicians, to their incredibly earthy and at times anthem-like sound, there’s nothing small about these big timers.

Their third album ‘You My People’, is an effortless execution of conventional blues form balanced with a unique and modern play on rhythm and phrasing that injects life into this classic genre.

RaeMag got a chance to hang out with Raoul and company during they’re CD release show in downtown Toronto and get their thoughts on form, inspiration and life as blues musicians.

What drives you to play this particular style of music?

“I’ve been listening to blues since I was a little kid, 1940s-60’s blues that’s heavy on harmonica. I went to Canterbury Arts Highschool in Ottawa and everyone was in a band and you know when your older you think I can’t do that, but when you’re a kid and everyone around you is doing it you think, Hey, I can do that! From that I branched out into different genres and got into acting”.

What are your plans for the next year.

“Performing a few more shows around Toronto then heading to Stratford to be in the theatrical
performance of the South Asian play “Rice Boy” by Sunil Kuru Villa”.

What’s been your biggest musical inspiration?

“Muddy Waters, Frank Sinatra, BB King, Little Walter, lots of stuff with classic blues harmonica.”.

When did you start to play the guitar?

“When I was 11 years old”.

What kind of gear do you use?

“Les Paul Standard ’92, I removed the standard pickups and replaced them with classic 57’s”.

What do you do to keep your skills sharp?

“I like to do at least 45 minutes of scales. I’ll do some modes, chords. Chromatic scales up and down the neck are great warm-ups. And really I just play as many gigs as possible.

What advice would you give to musicians aspiring to play blues guitar?

Most of the material on ‘You My People’ was written by Bhaneja, and the offerings are broad in both lyrical imagery and tonal mood. From the characteristic call-and-response acclamation of the title track to the sultry easy going sway of ‘Where The Wind Blows’, there’s a little Big Time here for everyone.

Official Website: http://raoulandthebigtime.com/