Monday, April 22, 2013

Cubase Tutorial #1 : How to connect your synthesizer in Cubase via MIDI.

by Michael Margaritis

While modern synthesizers and midi keyboards can be connected via USB, the standard way of connecting most keyboard and synthesizers is via MIDI. The acronym M.I.D.I stands for Musical Instrument Digital Interface. To setup your synthesizer to communicate with your Sequencer (Cubase) and your VST (Virtual Studio Technology) instruments so you can record what you play, you will need these things:

A)      A keyboard midi controller – Your keyboard or synthesizer, whatever make, will need to have a midi output socket  ( MIDI OUT)   
B)      An audio interface such as a sound card, that has a midi input socket (MIDI IN)
C)      A MIDI to MIDI cable
D)       A version of Cubase DAW software ( Sx3 + )

Before starting, make sure you have the latest drivers and firmware updates for your audio interface installed!

Step 1:
Plug in your midi cable to your keyboard controller’s MIDI OUT socket and your sound card’s MIDI IN socket. If you have an external audio interface, power it up after connecting the cable.

Step 2:
Run Cubase

Step 3:
Go to tab Devices > and select “Devices setup…” (It’s usually the last option on the list)

Step 4:
Select “VST Audio System” from the list under Devices (located to the left)

Step 5:
Now, click on the drop-down menu labelled ASIO Driver (to the right) and select the driver corresponding to your audio interface. Click Apply. If your sound card does not have ASIO drivers you can download and install ASIO4ALL a free to download ASIO driver that enables the vast majority of soundcards to use ASIO.

Step 6:
For your keyboard to send information as quickly as you press a key you really need the lowest latency you can achieve. This can be different for many configurations because decreasing the latency too much can result in processing errors such as peaks and spikes in the sound and sometimes software crashes. To decrease your latency go to the control panel of your card and decrease buffer size. Good input latency is around 10 – 5 ms and everything under 5ms is optimal. 

Step 7:
Go to tab File > “Create a new project” (or press ctrl-N). Select “empty”.

Step 8:
Go to tab Devices again. Select the option VST instruments (or press F11). Click on the dark colored area “no instrument” and select the VST instrument of your choice from the list. Cubase version 5 and up will ask you if you want a track to be created automatically that is connected to the VST you chose. If you hit cancel you can manually create and setup your tracks by adding “midi tracks” in your project.

Step 9:
After you have created a midi track, select it. To the left of the selected track are two symbols, an arrow entering a square (INPUT) and underneath it an arrow exiting a square(OUTPUT). Click next to the INPUT symbol and a drop down menu appears.  If you have only one MIDI input the option “All Midi  Inputs” is usually the default option. If it is not the default option or you have more than one midi input connected then select the option corresponding to your keyboard/soundcard (usually contains the name of your hardware)

Step 10:
 Click next to the OUTPUT symbol (arrow coming out of the square) and select the VST instrument you have loaded earlier.

Step 11:
Because many VSTi’s have the ability to load more than one sound into another “channel” you might need to change the channel number of the VSTi corresponding to your track. If for example you load a flute on channel 1 and a clarinet on channel 2 in your VSTi, then you will need two separate midi tracks to record each sound separately. To select which channel your midi track corresponds to look for a Symbol of 9 small squares with a number next to it. Click on the number and select the matching channel number.
 

Step 12:
Select the tracks you want to record with. Under the label of your track is a big circle shaped Button(“Record Enable”) . You should make sure it is selected (becomes red).

 Step 13:
When you have selected which tracks you want to record with, and enabled the recording button, press record (red circle) on your transport panel.

Step 14:
Record your music.


Step 15:
Have fun.

Friday, March 16, 2012

KARL STRAUB GENRE MIXING WORKSHOP

March 22, 7:00 - 9:00 PM
NOVA Music Center
KARL STRAUB GUITAR WORKSHOP
"HOW I LEARNED TO PLAY ROCK AND ROLL, PUNK, ROCKABILLY, COUNTRY, JAZZ, BLUES, CLASSICAL, WESTERN SWING, BLUEGRASS, AND FOLK GUITAR, AND LIVED TO TALK ABOUT IT"



(NOTE- this short clip is a sample of what you can expect at the workshop. The first piece is in a Danny Gatton rockabilly style, the second is a flatpicking instrumental, and the third is a Bach-like sketch. They all use the same basic chord progression in the key of G. At the workshop, Karl will talk about how to find connections between styles, and how to mix them together in any way you want.)
(video should be fixed now, but if you can't get it to play please email me at karlstraub@hotmail.com)

Guitarist and Music Educator Karl Straub has led a checkered career. He has played many different styles professionally and spent more than thirty years studying the connections between different musical genres. Karl has shoehorned Monkees guitar licks into Thelonious Monk pieces, watched his audience slam dance to pop songs written when Jimi Hendrix's parents were young, and played Yardbirds fuzztone guitar while being pelted with enough fake blood, glitter, and chicken bones to stop his wah-wah pedal from working.

This workshop is partly a history of American guitar styles, and partly a master class on how to mix these styles together. Straub will talk about how slight adjustments to your playing can take you from psychedelic rock to blues to country to jazz faster than a Lady Gaga costume change.

Karl Straub has a Music Education degree, and almost 30 years professionally performing, recording, and writing. His songs have been recorded by numerous local artists, and he has played guitar with Last Train Home, Eric Brace, the Grandsons, the Graverobbers, the Kennedys, Little Pink, and Exit 10.



NOVA Music Center
12704 Chapel Rd
Clifton, VA 20124

703-830-7141

Tuesday, February 7, 2012

GM Drum Mapping

I was in the studio the other day showing a couple of guys how to build quick drum beats.  A little chart like the one below saves me the hunt and peck for the tone I am looking for.  A glance at this out of the corner of my eye and they are quickly fooled into a false sense that I know what I am talking about.

This bit of random info is  useful to anyone programing MIDI drums.  MIDI channel 10 is a dedicated channel for drums.  The following is the key# or note (like on a piano keyboard) and the sound that will be produced on channel 10.  This is useful when you are programming percussion using a step program or a notation program. 

Erich

 
Key#
Note
Drum Sound
35
B0
Acoustic Bass Drum
36
C1
Bass Drum 1
37
C#1
Side Stick
38
D1
Acoustic Snare
39
Eb1
Hand Clap
40
E1
Electric Snare
41
F1
Low Floor Tom
42
F#1
Closed Hi Hat
43
G1
High Floor Tom
44
Ab1
Pedal Hi-Hat
45
A1
Low Tom
46
Bb1
Open Hi-Hat
47
B1
Low-Mid Tom
48
C2
Hi Mid Tom
49
C#2
Crash Cymbal 1
50
D2
High Tom
51
Eb2
Ride Cymbal 1
52
E2
Chinese Cymbal
53
F2
Ride Bell
54
F#2
Tambourine
55
G2
Splash Cymbal
56
Ab2
Cowbell
57
A2
Crash Cymbal 2
58
Bb2
Vibraslap
59
B2
Ride Cymbal 2
60
C3
Hi Bongo
61
C#3
Low Bongo
62
D3
Mute Hi Conga
63
Eb3
Open Hi Conga
64
E3
Low Conga
65
F3
High Timbale
66
F#3
Low Timbale
67
G3
High Agogo
68
Ab3
Low Agogo
69
A3
Cabasa
70
Bb3
Maracas
71
B3
Short Whistle
72
C4
Long Whistle
73
C#4
Short Guiro
74
D4
Long Guiro
75
Eb4
Claves
76
E4
Hi Wood Block
77
F4
Low Wood Block
78
F#4
Mute Cuica
79
G4
Open Cuica
80
Ab4
Mute Triangle
81
A4
Open Triangle

Monday, February 6, 2012

Musician Light Bulb Jokes

Musician Lightbulb Jokes

Over the years you will hear these all again and again and again.  After a little brain storming session, here is what we came up with:

Q: How Many lead guitarist does it take to change a light bulb?
A: None. They just steal somebody else's light.

Q: How many lead singers does it take to screw in a bulb?
A: One, to hold the bulb over their head while the world revolves around them.

Q: How many engineers does it take to change a light bulb?
A: First they have to agree on which is better; the analog bulb or a digital bulb.

Q: How many record producers does it take to change a light bulb?
A: They are waiting for you to change the lightbulb so they can tell everyone that you couldn't have done it without them. 

Q: How many drummers does it take to change a light bulb?
A: None. They have machines to do that now.

Q: How many bass players does it take to change a light bulb?
A: None. The Keyboard player does it with his left hand.

Q: How many bass players does it take to change a light bulb?
A: One. But the guitarist has to show him first.

Q: How many will he say if you ask as bass player, "How many bass players does it take to change a light bulb?"
A: One. Five. One. Five. One. Five.

Q: How many alto sax players does it take to change a light bulb?
A: Five: one to handle the bulb and four to contemplate how David Sanborn would've done it.

Q: How many singers does it take to change a light bulb?
A: Two. One to hold the diet cola and the other to get her accompanist to do it.

Q: How many sopranos does it take to change a light bulb?
A: Three. One to climb the ladder while the second kicks the ladder out from under her. And the third to say, "I knew that was too high for you dear."

Q: How many altos does it take to change a light bulb?
A: None. They can't get up that high.

Q: How many tenors does it take to change a light bulb?
A: Four. One to change the bulb and three to whine "It's too high"

Q: How many jazz pianists does it take to change a light bulb?
A: Screw the changes, we'll fake it.

Q: How many guitar players does it take to change a light bulb?
A: Five. One to change the bulb and eleven to say they could do it faster.

Q: How many keyboard players does it take to change a light bulb?
A: Four. One to change it, and the other three to beat back all the guitarists who are trying to elbow him out of the spotlight.

Q: How many BMI employees does it take to screw in a light bulb?
A: They screw millions of bulbs every day, but when it comes to your bulbs, there's no record.

Q: How many folk singers does it take to screw in a light bulb?
A: Two. One to change the bulb, and one to write a song about how good the old light bulb was.

Q: How many French Horn players does it take to change a light bulb?
A: Just one, but he/she will spend hours checking for technical problems.

Q: How many clarinetists does it take to change a light bulb?
A: Only one, but they will go through a whole box of bulbs before the right one is found

Q: How many bass clarinetists does it take to change a light bulb?
A: All of them

Q: How many flute players does it take to change a light bulb?
A: One. But she will break ten bulbs before she realises that they can't be pushed in

Q: How many sound engineers does it take to change a light bulb
A: None, sound engineers don't do lights

Q: How many oboists does it take it to change a light bulb?
A: One. But he'll have to make the lightbulb himself.

Q: How many Trumpet players does it take to change a light bulb?
A: Only one.  But he'll leave a big puddle of spit on the floor underneath him.

Q: How many brass players does it take to change a light bulb?
A: One to hold it in place and two to drink until the room spins.

Q: How many Bluegrass musicians does it take to screw in a light bulb??
A: What's a light bulb?

Q: How many violists does it take to change a light bulb?
A: Only one, but he'll keep breaking the bulbs with the hammer.

Q: How many music teachers does it take to screw in a light bulb??
A: None. music teachers can't afford lightbulbs.

Q: How many bluegrass musicians it takes to change a light bulb?
A: Two. One to screw it in and one to complain that it is electrified.

Q: How many singers from Nashville does it take to change a light bulb?
A: Four. One to change it, one to sing about how heartbroken he is at the loss of the old one, one to sing about how madly in love he is with the new one, and one to go "Yee-Hah!" and throw his cowboy hat in the air.

Q: How many Pianist does it take to screw in a light bulb?
A: Four: One to light a candle and the other three to say it's better than electric light.

Monday, January 16, 2012

EQ Tips for the Recording Studio

At NOVA we have a small hands on studio for rent at $16 an hour.  Here are a few EQ hints for the recording studio as you mix your tracks down.

  • Have a plan.  Before you change the EQ decide what you want to improve.
  • Raising one vocal subject at 3 kHz can add clarity to that vocal and can help it move to the front of the mix. You can lower the background vocals at the 3 kHz range to make them fall to the background. You can boost or raise eq or both but be selective.
  • Add presence to a vocal is at 4-5 kHz
  • Vocal sounds such as 'm', 'b', 'v' can get lost if 2-4 kHz are boosted too high.
  • Don't over boost at 1-4 kHz It can strain the ear.
  • Control sibilance at the 5-16 kHz range.
  • Sibilance and brightness may be found at the 6 kHz range. Open up the sound or reduce sibilance.
  • Add power to a vocal around 80 but start looking at 60-125. Too much of this area can also make things sound muddy.
  • Speech fundamentals occur between about 125 and 250 Hz. This is where you can add warmth. If you are looking for a powerful vocal don't add much here and boost around 80.
  • The character of the voice is 300-1 kHz
  • To make a telephone or radio speaker voice boost in the 1 kHz area.
  • Vocals to harsh? Cut at 1 - 2 kHz
  • Roll off vocals below 60 Hz. Anything below that are probably not vocals.

Thursday, January 5, 2012

KARL STRAUB'S PERPETUAL MOTION ETUDES FOR GUITAR

Karl Straub is doing a guitar workshop at NOVA Music Thur, Jan 19, 7:00 PM. Note: the following guitar etudes are terrific studies for intermediate players, but if you
find them daunting, don't worry! You don't have to play on this level to benefit from the workshop. It's for all levels.


All contents copyright Karl Straub 2008.
www.karlstraubmusic.com/perpetual motion etudes 1-10.cpr.mp3

Note: CLICK ON LINK ABOVE TO HEAR EXAMPLES. CLICK ON MUSIC PAGES TO ENLARGE, OR PRINT OUT FOR YOUR OWN USE.
These are eighth-note studies that can be repeated as an endless loop, hence the use of the term "perpetual motion." i recommend playing them individually, ten times in a row without a break, once you can do that with no mistakes. until you can play an etude without error, you should break it into smaller pieces, practicing each piece in sets of ten until you eventually work up to playing the entire study multiple times with good sound and no mistakes.


These etudes can improve your technique in several ways. As a bonus, i have incorporated stylistic elements from a variety of idioms, including country, jazz, flatpicking, rhythm and blues, western swing, rockabilly, etc. the player using these etudes can develop musical vocabulary along with technique, extending his/her ability to improvise solos and fills.




HOW THESE ETUDES CAN IMPROVE YOUR TECHNIQUE


these studies are designed to develop your technique in the same way that repetitive physical exercise develops muscles. playing a musical instrument is challenging because it requires efficient use of physical and mental capacity. the sheer number of things to be learned, along with the repetitive practice required for mastery, can quickly lead to an overwhelming amount of time spent each day. even the most dedicated practicer will find it difficult to maintain a consistent practice schedule.
these studies are designed to get a variety of results even when only limited practice time is available. they develop technique in both right and left hands, as well as giving the player insights into issues such as playing in closed (up the neck) positions as well as open, playing in a various keys, position shifting, fingering, and alternate picking- all essential for advanced guitar playing.

THESE ETUDES CAN TAKE YOUR PLAYING TO "THE NEXT LEVEL," AND ARE ALSO USEFUL AS WARMUP EXERCISES.

my original goal in creating these etudes was to give myself a large amount of challenging material i could play repetitively, as a way of warming up my technique in a short time. they are excellent warmups for the player who has already achieved some basic facility with alternate picking, position playing, etc.
for the player who needs help with facility, any of these etudes on its own can help in the following ways.

RIGHT HAND TECHNIQUE


i recommend playing these studies with alternate picking, i.e. a consistent alternation of down and upstrokes. because all the etudes are eighth notes exclusively, you can begin a measure with a down pick, play the next note with an up pick, and continue alternating with each pick stroke. alternate picking takes a lot of concentration, and a lot of practice! when i first tried to learn it, it took a huge amount of work. at the time, i was a fairly lazy and unfocused musician, and learning alternate picking was by by far the greatest challenge i'd ever had as a player. trust me when i say it's worth the effort-- although alternate picking isn't the only good picking method, i believe it's the most versatile and neglecting to learn it will slow down your development enormously.
even if alternate picking is the only thing you get out of these etudes, it will be worth the time.
play with movement primarily in your wrist --- try to keep a loose wrist, and avoid arm movement as this can create stiffness and keep you from developing. make sure your wrist is ALWAYS RELAXED.

the etudes can be played with each note picked, for a great alternate picking workout. some of them include recommended pulloffs and hammer-ons for some notes. i put these slurs in where i thought they made the line sound better, but ultimately the etudes can be played with or without the slurs-- they're good for your technique either way. if the slurs make it hard for you to play an exercise, leave them out, or practice the slurs by themselves until they become easier.

LEFT HAND TECHNIQUE


some of these etudes can be played all in one position, i.e. in a four-fret span where each left hand finger is responsible for the notes on one of the four frets. others require shifting position one or more times. occasionally one finger has to shift or stretch "out of position," which means you are mostly in a four-fret span but notes not in the position require a momentary adjustment. i used to stretch rather than shift, believing that keeping my hand in position as much as possible made it easier to keep track of where i was on the fingerboard. eventually i came to prefer shifting my whole hand in a relaxed way to reach a note outside of the position. try both methods and find the one that works for you.

try to keep left hand fingers coming down straight onto the fingerboard as much as possible. my college teacher Gerry Kunkel always hounded us to keep our fingers "up on the tips," and i advise that as well.

TECHNICAL TIPS FOR THESE ETUDES

1. first bar-- first position, with open strings.this means index 1st fret, middle 2nd, ring 3rd. shift to second position for the pulloff from pinky to index finger. use the open G string to give yourself time to move the pinky and index, getting them ready for the pulloff. use next open note to shift back to first position.
2. four fret span, fifth position (this means the fifth fret is index finger, sixth fret is middle, seventh is ring, and eighth is pinky. ) no stretching or shifting needed, but you have to use the pinky for two notes in a row on different strings. try the rolling technique-- rather than lift the pinky and moving to the E string, keep it on the tip for the B string note, then "roll" it onto its side to get the E string note. this rolling techique takes getting used to, but helps keep passages like this smooth.
3.second position. use index for second fret, middle for third, and ring for fourth.
4.first bar is 9th position. second bar is tenth position. make this shift by moving index over while ring finger is on G11(G string, 11th fret. ) once you've made the shift, keep hand relaxed. shift back for repeats by moving index back to 9th fret. the key to this kind of shifting is to relax your hand while you do it.
5. begin with ring finger, shift (during open string) to index on E3. stay in this position (3rd) for first bar. second bar shifts to first position, with index on first fret, etc.
6.entire line is 3rd position, except last three notes which are in 2nd position.
7.entire line in second position, index second fret and ring fourth fret. middle finger used for only one note-- low E3.
8.2nd position, nothing tricky.
9. first bar is second position--index 2nd, ring 4th, until D3, played with ring. you're now in first position-- index on 1st, etc. second hammer-on should hammer to index on 2nd fret--now you're back in second position.
10.all first position. this is a pinky workout. try not to let your pinky pop high off the string and back into your hand when it's not being used.

NOTE ON MY RECORDING: I played these etudes pretty mechanically, in the hope they would be easier to hear that way. Keep in mind that most of them really come alive with accents and phrasing derived from fiddle tunes, or more modern kinds of "country swing," hillbilly boogie, rockabilly, etc. It seems to me that much of those more modern fifties and sixties styles of phrasing are descendents of the fiddle tune kind of phrasing, but I'm going to have to think about that for a while, and try to figure out how to present some examples at some point.

GUITAR WORKSHOP WITH KARL STRAUB--TEN IDEAS TO MAKE YOU A BETTER GUITAR PLAYER

TEN IDEAS TO MAKE YOU A BETTER GUITAR PLAYER
OPEN TO PLAYERS OF ALL LEVELS

Karl Straub's Guitar Workshop is Thursday, Jan. 19, 7 pm at NOVA Music, 12704 CHAPEL ROAD, CLIFTON, VA 20124



"BROKE DOWN GUITAR," A SHORT ROCKABILLY PIECE.


KARL STRAUB'S HIGHLIGHT REEL, A FEW DIFFERENT STYLES OF GUITAR PLAYING


The purpose of the workshop is to show you how to be a better guitar player. Most guitar instructional books and DVD's show you how to play specific licks and songs, but without knowledge of certain fundamentals, many guitarists stay at the same level regardless of how many licks and songs they learn.

This workshop will give you a pile of practicing and playing techniques that will improve your playing right away, and keep you improving from now on. Straub will pass along tips about technique and practicing he has learned in 27 years of professional experience playing rock and roll, country, jazz, classical, blues, and folk guitar.

among the topics discussed--

HOW TO PRACTICE FOR MAXIMUM BENEFIT

BUILDING SPEED WITHOUT BUILDING SLOPPINESS

PLAYING IN DIFFERENT KEYS

PLAYING ALL OVER THE GUITAR, NOT JUST THE FIRST THREE FRETS

EAR TRAINING-- IF YOU CAN'T HEAR IT, YOU CAN'T PLAY IT
CLEANING UP YOUR LEFT AND RIGHT HANDS

HOW TO TURN SCALES AND ARPEGGIOS INTO ACTUAL MUSIC

HOW EVEN A LITTLE MUSIC THEORY CAN MAKE YOU A BETTER PLAYER

Karl Straub has a Music Education degree, and almost 30 years professionally performing, recording, and writing. His songs have been recorded by numerous local artists, and he has played guitar with Last Train Home, Eric Brace, the Grandsons, the Graverobbers, the Kennedys, Little Pink, and Exit 10.

Thursday, June 2, 2011

Connection Ad

You Creating Music or Music Creating You?

What makes music music? Is it simply the notes being played or sung? Or is there a deeper meaning? Should there be a story behind the notes and the words?

I often consider these questions when listening to any piece of music or song for the first time. For genres such as country music, the story seems to be the highlight of any song. Singers want to sing about every aspect of their life from their dog and children to their past, and often, through the journey of writing music, musicians learn more about themselves. However, looking at music without words such as most classical pieces, there is often a not so easily discernible story. It is there, but we have to take apart the piece more carefully.

Some of the most complex classical music of the 20th Century arose from the USSR and the artistic oppression under the rule of Stalin. Composers, such as Shostakovich, transformed this oppression into a greater release of artistic creativity, often externally conforming to the regime while internally experimenting and expressing new ideas not accepted under the Stalin regime. They told their stories despite the oppression and often told them quite well.

Music is complex in many ways. Music can often tell two or more stories all at once which elucidates the power that such expression has especially when living in an oppressive world. It may be more simple to listen to a piece of music and not find a story, but often, if you listen deeply, there are stories which are meant sometimes to express a simple thought while at other times are shouting for a revolution.

~Lisa